*** This article originally appeared in the November 18 issue of the animated magazine (No. 285) ***
After celebrating its 95th anniversary this year, Walt Disney Animation Studios boasts nearly a hundred years of experience drawing audiences into magical worlds dreamed by its Legion in-house house. but Ralph breaks the Internet, The studio's 57 animation feature and a sequel to the 2012 box-wrecking box The Devil Who Hates, Is perhaps its most challenging since Walt himself oversaw the completion Snow White and the Seven Dwarfs In 1937.
At first glance, the animation film CG-Animation, is about a distance from the pastoral landscapes of Snow White As you can get (though – a spoiler alert – the Disney princess hair raven actually makes an amulet), but both features are, in their own way, the pioneers. As in the case of Walt Snow White, There was no cinematic program for what directors Mor Moore and Phil Johnson introduced Ralph breaks the Internet, Who sees the beloved nose of Love, who is reunited with Maxim, a friend of the Maxim company, and Landloff von Switzerland, in another high-octane adventure, Fructose, this time in the sprawling metropolis of the World Wide Web.
Despite the profound effect the Internet has had on the world since it was launched to the public in 1983, it has never been shown on the screen before any tangible way. "We have actually a palette of all the cities we can find in sci-fi movies," recalls art director Matthias Lechner, who was one of the first crew members to come on the film. "And the managers told us not to do it, it was not supposed to be called a science fiction city, because it's the Internet."
Given the size and scope of the Internet, not to mention that in the four years between the reflection of the film and its release, the Internet has changed in ways that no one could have foreseen, the film's presentation presented not only a conceptual challenge but also a practical challenge, both in terms of the number of assets that should have been created – of the 150,000 characters that populate the city with its endless structures, signs, holograms, and video clips – and through their studio programming studio. One scene, in which Ralph and Vanellope (played again by John C. Reilly and Sarah Silverman) to enjoy the view from the city's balcony, included over 100,000 individual elements.
Among the most important sites to breathe life was Buzztube, a YouTube-inspired website in the form of a high cylindrical chamber stacked from top to bottom with video screens, each playing a clip that had to be animated separately. "We have recruited all the art department in the building to help with the design of all these screens," explains technical supervisor Ernie Petti. "Not just the people who were on [film] But actually everyone in the building. "
As for the rendering, initially only the scale of the architecture of the city proved insurmountable for Hyperion. "It was not happy," Patty recalls in the first test of the environmental team. "The test never came back, so we had to go back and think: how do we really make an Internet city on a scale we need, but efficiently enough that we can still work with it in all departments to finish the film in time?"
But before the team could start building a practical model of the Internet, they had a daunting task of deciding how it should look. Production designer Corey Lopatis was one of the first team members to join the project shortly after wrapping it Zutopia. Loftis, who was brought in by producer Clark Spencer, was asked to "start coming up with ideas for the Internet," he recalls laughing. "Mathias started right before me, and I was, well, what did Matthias say? [Spencer] Replied, "Well, Mathias said we can not do that."
Leichner admits that his initial view was rather pessimistic. "My first thought was, it's a great idea," explains Lechner. "Because it really makes sense, makes sense, to the story and this kind of multiply the possibilities … Then I realized what it means." What this means was visual conceptualization one of the most powerful, intangible technological developments in modern history. "And the scary part is that people have prejudices about the Internet," adds Lechner. "Everyone has their own Internet, you know."
For director Rich Moore, the experience of displaying the web on screen for the first time was "horribly daunting," he admits. There is no point of reference to the painter except what you see on the screen on your computer or on your phone, and that's it. "
"It was very uncomfortable for a long time," he says. "And we simply had to sit down with this discomfort and push it, knowing that eventually it would open up and reveal itself."
The result is glamorous megalopolis (think in Tokyo about high fructose corn syrup) imbued with a wealth of thoughtful details that make the web feel fresh and surprisingly impressive. In one scene, Ralph and Wanlupa jump on the banks of escalators moving at different speeds, representing bandwidth, while viewers with eagles may see the clocks of the city actually loading wheels. Meanwhile, eBay is described as a huge hangar filled with thousands of individual auction stands, dotted with accessories from Disney past animations – although it was as necessary as desire to please fans, considering the number of assets that need to be created in such a short time.
There is even a short trip to the dark internet, through the elevator, where Ralph gets a glimpse of the stomach of the Internet. Because while director Johnston likes to dismiss it, according to the animation team's initial research, "The Internet is probably only cat videos," but there was also a philosophical aspect to the project that could not be ignored. "We talked a lot about where we are as a people in relation to this technology," he says. "We are in the midst of something that has so quickly risen to our ability to understand what it is, what is social technology, ethical, ethical, how do we behave about it in our lives?"
Although it would be unfair to watch a family movie to give answers to questions that academia and politicians still face, Johnson Moore decided to wonderfully deal with the dark side of the Internet on the head with a plot plot about cyberbullying. "We felt we had a responsibility to talk about the complicated things on the Internet," admits Moore. Johnston explains that they felt "encouraged" by their work on Zutopia. "Knowing that the audience are fine and actually keen for a more sophisticated type of access to family movies for a complicated subject matter."
While the duo is well aware that the premise of the film means that in the next few years it will become a kind of time capsule, they have been equally focused on ensuring the friendship between Ralph and Annalope remains as persuasive as it was originally The Devil Who Hates. "It's neat that the Web of 2018 will be represented there," says Johnston. "[But] I hope there are even more universal truths – how companies work and how people love each other and how one can share kindness with one another. I hope these are the longer things. "
Of Disney Ralph breaks the Internet Opened in theaters around the country on 21 November.
Disney Princesses: They're complicated!
There is nothing on the internet like more than a Disney princess – a quick search on the Internet generates thousands of fans inspired by fans ranging from hipster versions to cosplay – but Ralph breaks the Internet Writer Pamela Ribon admits that when she first conceived the Princess scene that continued to "Break the Web" after her debut at the 2017 D23 Expo, she thought she might fire.
"As we talked about all the different parts of the Internet, [we thought] You've got to do something meta, and it would not be fun to be a Disney kind of fun laughing at himself a bit, "remembered Ribon." And we thought, well, if Annalupa meets all Disney princesses and takes pictures with them, it could break the Internet. And then I was like, well, I'll get my feminist agenda on it. "He said.
Ribon's efforts combined with a scene which, not surprisingly, went viral. For not only did she make 14 princesses in one room for the first time, but she also repressed Disney gently to shape her most beloved characters. Snow White, for example, explains that her dramatic hand gestures in the 1937 film were because she was "legally blind," while Cinderella broke her glass shoe on a chair before waving it cruelly at Wenlupa.
"It felt like, if everyone does it, why not?" Moore says about the cheeky humor of the scene. "And we can do it better than in other places because these are our characters, we know them intimately." In some ways, of course, this has made the job harder. Even after the animation won the approval of everyone in the studio – including some of the very directors who stood in the Disney princess films – the next challenge was to make the princesses authentic and bonded, despite their different animation styles, and CG / hand – estimated gaps.
Nevertheless, both the staff and the staff were enthusiastic about the place. The head of the characters and the technical animation Dave Komorowski confirmed that the princesses were "the most wanted shots" among the characters. Similarly, all original vocal actors have agreed to revisit their royal animation, which provides sound to the film and also advises animators on how their characters can speak and act.
"We sent them the sides so everyone knew what it looked like," Moore recalls. "And we thought, well, we hope everyone's game will do something that is disrespectful, but respects their characters at the same time and every single actress we went to love the idea."
Incidentally, in September, Disney had to take another look at CG's description of Princess Tiana (The princess and the frog) In the film, after a sharp increase in social media and criticism of the light skin color of the character and hair style that appeared in photos and videos.
Know more than anyone else
Ralph breaks the Internet Including the nod at Walt Disney Animation Studio's Hand-Painted History with KnowsMore, an anthropomorphic search engine character with huge, owl-like glasses. "[His eyes] They're just kind of round points, but the amount of expression they had to go through was very complicated, "explains animation director Renato Dos Anjos." So we decided the best way to approach it was to draw your eyes on it. "
In earlier versions of the film, KnowsMore played a bigger role in the story: he was a broken search engine sentenced to jail because of his malfunction, and joined Ralph on his search for Vanellope. By always versatile and talented Alan Tudyk, who also starred in Kennedy's first film, KnowsMore is a combination of 2D and CG animation. His body is CG, but his glasses and eyes are hand-painted by Dinder Minder. The character was initially achieved as an owl!