00:03Puoi scendere qui e fidarti sì
00:15I would like to start from the songs that are a key element in vivo.
00:20Can you tell something about your work with Lin-Manuel Miranda?
00:24Sure, but I have to say I love your background. That's awesome.
00:27That's awesome.
00:28Yeah, so Lin, this story came to Lin about 10, 12 years ago.
00:34And so he had been working on another version of it.
00:36And he had about six or seven, eight songs in demo form that I had listened to about five years
00:42ago.
00:42And it was, you know, it had this amazing scale of range of songs that ranged from Cuba to Florida
00:52and rap to mambos.
00:54It was amazingly, like, showed I felt the spirit of the place and what we could do, always looking for
01:00what can we do in animation to bring colors and sound and new locations to our audience.
01:05And this was it was also filled with so much heart.
01:09And so, you know, when first talking to him, it was all about us just trying to get as much
01:15heart into this mission as possible because it was a story of love.
01:18And it was a story about musicians, which I thought was great, because a lot of times in musicals, you're
01:25trying to find ways to motivate why people are singing.
01:28You know, they have regular jobs.
01:30Why do they start singing if they're, you know, construction workers?
01:33Well, this is different because our heroes here are performers and they are people who love music.
01:39And the story is about music.
01:41It's about the power of music.
01:42So it felt like we had an opportunity to do something very special with the telling of the different songs
01:50and really using all the tools in the animation toolbox.
01:53So we have different styles of animation for every different song, which Lin loved the idea of.
01:58And he was so excited to see what we could do.
02:00With Wevo, you made me laugh.
02:02You made me cry.
02:03And I loved everything in the film.
02:05What was the starting point and inspiration when you began work on the film from the visual point of view?
02:14From the visual point of view is, you know, early on, a great production designer, Carlos Zaragoza.
02:19I had, you know, thought of those times in the Caribbean, it hasn't been used in CG animation.
02:25Those warm colors of Havana, those blown out lighting of Key West and all the colors of Miami.
02:31And so the thing, because of the way the music was produced and the way we were talking about it,
02:37I kept thinking of vintage travel posters from those times and sort of like jazzy 1960s album covers.
02:44And so those were two things, inspiration, because the idea would be is that we wanted it to feel like
02:50a journey
02:51that had all these visual resets that we started in Cuba, went to Key West, Everglades, then Miami to refresh
02:57the audience.
02:58And then within it, what can we do to show these musical numbers?
03:01So that idea of the Mambo Cabana sequence is when Andres sings of his dream to go to Miami,
03:06we might look at that and go, oh, it's beautiful.
03:09But to Vivo, he's like, no, get it away from me.
03:11I want to go, I want to stay here.
03:13And the same thing happens when he goes into Gabby's room and she sings own drum.
03:19It is like nothing he's ever seen before.
03:22He wants nothing to do with this girl and it's techno and it's motion graphics and it's TikTok feel.
03:28And it has this modern vibe and he's not from that world.
03:32So it was about finding expressions of the visuals that could best tell the songs, the stories of the songs.
03:39One of the things I liked most is how you moved the camera.
03:45It's like a dance.
03:46It's like it's part of the choreography.
03:48How do you work on that?
03:49Well, that's awesome.
03:50And because we actually were very lucky to work with Roger Deakins, who's our visual consultant,
03:55who worked very closely with our cameraman, Young Dak John,
03:58who we had an idea from the beginning of trying to be as lyrical as possible and balletic and to
04:05keep it.
04:06And the one thing I think we always found, and this came from a lot of notes from Alex Lacamoire
04:10and Lynn,
04:12was that Carlos Zargos had this idea of having the curtains open and keeping it very theatrical,
04:17making it look like we didn't shy away from the fact that this was a musical and we were being
04:21theatrical.
04:23And so there was a lot of times that we actually were moving the camera too much
04:26and that Lynn and Alex would look at it from their, you know, knowing theater and go,
04:32you know, this one, we want to be on the characters here singing.
04:35And so we would kind of slow things down.
04:37So it was a really interesting back and forth between our computer camera department
04:42and what that was doing and the theater background that we were trying to bring to life.
04:48This is what we have.
04:53That love will always live in your heart.
04:55This is what we have.
05:00This is what we have.
05:00This is what we have.
05:01This is what we have.
05:04Gabi!
Commenti