Making a Show: A Tom, Jack and Ellie Adventure
DUG voice of Bob Peterson is a lovable golden mutt living in the wilds of Paradise Falls as part of the dog pack searching for a rare, flightless bird.
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Like the rest of his pack, Dug is outfitted with a remarkable high-tech collar that translates his thoughts into speech. But Dug is mocked as the nerd of the pack. KEVIN is an extremely rare, foot-tall flightless bird that is hidden from the world in its remote Paradise Falls habitat.
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With brilliant iridescent-colored feathers and a long, flexible neck, Kevin is exceptionally fast and nimble. In fact, the massive bird often gets into some very curious and seemingly impossible positions. Very few know that this scientifically invaluable creature exists, but Carl and Russell stumble upon the bird, which Russell names Kevin after he discovers they share a sweet tooth. Fun and multifaceted, they are dogs in the truest sense, but just like their rejected comrade Dug, they have high-tech collars that give them unusual abilities specially designed for sinister hunting expeditions, including GPS tracking and translating their thoughts into speech.
Alpha voice of Bob Peterson , the leader of the pack, is a menacinglooking, black-as-night Doberman Pinscher with authority entrusted to him by their master that no one dares question. Nothing will distract the pack from their mission… except maybe a squirrel. But when Muntz brings home the skeleton of a fantastic foot-tall creature from a remote mountain in South America, he is discredited by scientists. Vowing to prove them wrong, Muntz returns to South America, swearing to bring back a live specimen.
Ratzenberger is the only actor to voice a character in all 10 Disney Pixar films. One of the biggest challenges on this film was to design a place that looked otherworldly and yet was still believable enough that audiences would feel like the characters are actually there. There was no way to prepare us for this adventure. Reaching their destination took three days, and required rides in airplanes, jeeps and helicopters. And then the fun began… The first tepui that the group explored was Mount Roraima in Guyana, the highest and most famous of the table-top mesas.
The climb is one mile pretty much straight up.
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The rocks are loose, the vegetation is not stable and they can pull off very easily if you grab them. We make cartoons for a living, so the only thing we were used to traversing was one end of our building to the other. When we got to the top, we had to hike across uneven terrain for another hour and a half. It was already dark when we got to our camp. And suddenly, from out of the darkness, we saw this cave lit by candles and there was warm soup waiting for us.
When we saw our tents, most of us just sat down and started crying. We were so happy to be there. And then in the morning, when we awoke, literally 50 feet from where we were camping was a drop one mile straight down. The group found no pack of dogs or prehistoric birds-both featured in the film-but did live to tell about close encounters with killer ants a nasty variety whose bite can be deadly in 24 hours , menacing mosquitoes, stinging scorpions, miniature frogs and poisonous snakes.
You expected to turn a corner and see a dinosaur roaming around. The group climbed to the base of Angel Falls, where they endured slippery-wet rocks and a constant spray of water. The images and vegetation they observed had a tremendous influence on the look of the film. Bonnetia trees, Stegolepis plants, and black rocks with beautiful pink flowers popping out in the middle, were all used in the film.
Over the course of nine acclaimed feature films, Pixar has experimented with a wide variety of different looks and styles. We knew we needed a certain amount of whimsy and caricature, which is sort of my general aesthetic anyway. We made a real concerted effort to caricature the characters and their environments. In most films, the characters would be about six or seven heads tall. Our hero, Carl, is only three heads tall!
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Pete wanted the entire film to have a caricatured look. The CG medium gives you the ability to put in all this amazing detail that adds to believability. A square symbolizes the past; the circle represents the future. Squares are static like a brick wall. Ellie has a circular motif, too.
As Carl grows older, he becomes more rigid. Russell is egg-shaped and all curves with all the dynamic symbolism that comes with that. When Ellie is alive and Carl is full of life, the color palate is saturated. We also came up with a color to symbolize Ellie-magenta. Throughout the whole film, there are magenta flowers and skies to remind us of her. That brings color back into his life. Every time we see a new character that adds to his life, like Dug, we introduce more color.
For Carl, they had to learn how to get nuance, emotion and a full range of motion into a character that is three heads high and basically square. Russell, an egg-shaped character with practically no chin and more levels of clothing than had ever been dealt with before, had his own unique difficulties. Scott Clark served as supervising animator on the film and was supported by three directing animators-Dave Mullins, Shawn Krause and Mike Venturini-and a team of nearly 70 animators at the peak of production.
On the technical side, Thomas Jordan was the character supervisor who headed up the areas of modeling, rigging, shading, tailoring the clothes and grooming the hair. We ended up lengthening his arms and legs so that you would see the break. He was full of technical challenges.
With every film, we run into the age-old problem of form versus function. There are no holes in his ears. The challenge was finding a balance between simplicity and realism. It took quite a bit of experimentation to get things believable but not necessarily realistic.
But Carl needed a voice, too. And funny. We definitely needed funny. And the name that just kept coming up again and again was Ed Asner. It was like he was born to play this role. It gave us something to hang the animation on. He has given us so much to work with. Carl just wants to be left alone, but the boy brings him out of his shell.
Circumstances bring him out and he has a rebirth. I think all curmudgeons should have a rebirth.
The challenge of trying to create the variations and the accents delights me. The interesting thing about the process is that you may have a simple line. But working with Pete and the guys, they want to hear a total range of presentations. You give them eight, ten, fifteen sounds on that line which are all recorded and then the absolute funniest is selected.
I would like to be one of the causes for affecting others. The film has something to say about celebrating life, and the union of two souls is always much sweeter than the isolation of one. Vowing to avenge her father's death, Ellie plots to do in the murderers using the only weapon she has: her body. From whichever domain that currently houses the soul of Aeschylus might be heard rapid rotative sounds if the author of the Oresteian Trilogy would happen to be cognizant of this obvious but perfunctory adaptation, as advertised by the film's producers, of the timeless conflict between Elektra and Clytemnestra.
Shelley Winters performs as Cora, a widow whose bereavement is due to homicidal inclinations that she shares with her three sons, their prey a string of husbands, men who are qualified by financial worth while being fatally fond of the well-upholstered finagler. Cora has overplayed her hand, however, because the young daughter, Ellie Mae Sheila Kennedy , of her latest victim believes that her father was murdered by Cora and her offspring, and is not shy about accusing them of the act. Ellie is fetching and her charms are not ignored by the three sons, nor by Cora's ersatz brother and actual lover , so that when the virginal lovely feels that the suspicions she harbours respecting her sire's demise have been confirmed, she designs a deadly revenge.
This retribution enables Ellie to use her allure upon the male quartet and, while the results can only be considered predictable, a clear opportunity is hereby presented for the succulent Kennedy to doff her clothing, obviously a principal motive for the making of this film. Although not tightly directed, and rather overstretched, these are not sharp disadvantages for this low-budget work shot with style in Dallas and nearby Maypearl, Texas, thanks to unexpectedly high production values, specially as regards the artistic camera technique of cinematographer George Tirl, and additionally skillful visual and sound editing.
Amused satisfaction is also to be gained from the singular costumes designed by Christy Haines for Winters, markedly for her character's witty funeral attire. In sum, this is a weakly scripted piece of buffoonery, set within a recognizable social milieu, that provides frothy entertainment through fine comedic turns by George Gobel as a bemused minister overwhelmed by a rash of funeral service requirements, Pat Paulsen as a local sheriff enamoured of the zaftig widow, and Ouida White who enjoys herself as a hilariously overwrought potential home buyer.
Tirl makes excellent use of main dish Kennedy while she gambols through a meadow of bluebonnets in the film's most enduring image. Enjoy a night in with these popular movies available to stream now with Prime Video. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
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Rate This. Young, beautiful Ellie has just witnessed the murder of her father at the hands of her evil step-mother Cora and Cora's three lecherous sons, all Director: Peter Wittman. Writer: Glenn Allen Smith original screenplay. Added to Watchlist Add to Watchlist.
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