That’s right: Can you tell us a bit about some of the visual elements of the film. There’s still the 2D animation format present and that feel you get from the series, but a lot of the camera angles and shots feel more grand or cinematic. What, if anything, has changed in the show’s appearance and what has stayed the same?class=”without”>
Bernard Derriman:
First of all, we didn’t want to upgrade the characters and change their appearance for the movie. We really wanted that to be part of the show in some way. It was just a better way to see the show; like you’re looking at it through a better lens and seeing more detail. It was also a great opportunity to think cinematically all the time. In the show, we’ll have a weird little action sequence and we’ll immediately think, “This is some kind of cutscene.” Here it was reversed, we were always thinking about the cinema, and then every once in a while, when it called for it, we went back to the standard two-plane or the standard three-plane of the children at the counter.
Loren Bouchard:
The mobile camera is very expensive in animation and 2D animation; it’s the big one. Moving the camera means your background can change perspective, which means new designs. You have to have time to be able to move your backgrounds around and redraw everything, if that’s what it takes.
