The idea is always to find the truth you’re telling, and from that fact, you can create a story,” says Angus MacLane, the recently released Lightyear Director and adds “For example, when we created Buzz, in Toy Story, and all in Toy Story, I was born The truth is from the way some dolls moved and saw the world. That was what mattered to us. Now that in this film we tell the story of the astronaut who inspired that game in Toy Story, the idea is to impress us with space and adventure.” Producer Galen Sussman adds: “This is what matters to us: the truth.”
—When you take a non-modern icon, like Buzz Lightyear, and turn it into a larger medium of storytelling, like science fiction: What do you want to achieve?
Angus MacLan: What I knew I wanted to do from the start is a movie and as soon as the show’s ending was off, people would say, “That was cool.” And this expression has little to do with my use of the same expression when I finished watching the classics on the big screen, the classics of science fiction. This is the feeling I’m looking for. Movies that pull you in when you’re a kid feel like something that has some kind of center of gravity, which attracts and moves you at the same time. Basically planets. The planets you want to live in. It’s something that stays in your head forever. For example, Star Wars, which for many of my generation is considered the beginning of extremism.
—When it comes to images, today it seems that anything is possible, and that there is an image that cannot be created, so how can you create an impressive movie at a time like this in animation (especially realistic animation, which is what Pixar leans on)?
Galen Susman: That’s right: We’ve been able to do amazing things with animation. I can even say we’ve achieved incredible things in animation with Pixar, and it has happened in just a few decades. Further, I can say, and I understand your question, that there is a lot that can be done and you really have to make a decision because the goal is no longer the most realistic picture possible. It means, if this way can be said, a greater aesthetic decision. Somehow the story is hard to find or easily lost. You have to be very smart in this regard. One of the amazing things Angus does is drive in such a way that the animation grows throughout the story.
M: I think the great artists that we have here, who have worked really hard here, what they really need is that you know what you need from them, so that they can direct their talents into a certain image or texture. Although this sounds easy, it involves many steps and a lot of interest in the story.
—The idea of a “space keeper”, for space exploration, is an idea closely related to a particular imagining of a particular moment in the United States, of a “new frontier”. Did you want to play with something of this distinctive aesthetic?
m: The movie’s first stop was figuring out how to make the classic Buzz game suit apply to this human buzzard, inspired by that famous fantasy doll. Suit, space station, car, villain. That was a very important thing for transportation to achieve a bridge between one thing and another. But also, and that’s about me, the aspect of creating and designing technology from scratch, excites me more than that fantasy you mention. Backgrounds, planets, horizons: they all make it convey something very powerful. There are always so many ideas for all of our films. So part of the process is understanding the strengths or strengths of the film in question.
The essence of imagination
Speaking of the core of Pixar, the company that has reworked modern stories in animation (and much beyond), director and screenwriter Angus MacLane, who transcends his previous work on films like Finding Dory, debuted here as a director of the lamp brand says with great enthusiasm and passion: “For our film, there are many universal truths that we aim at, the truth of design, which is also important to us. The audience has to find the truth in what we say, but also in what surrounds what we say. Comedy helps us a lot to achieve that. What works most at Pixar tends to blend a well-known universe with a series of ideas that you’re eager to tell.On the other hand, but along the same lines, Lightyear producer Galyn Susman says, “It’s also the strength of the family or your family or whoever you consider a family: we watch movies together, And we determine what works and what does not, we fight, we are happy together, other days not. There is an important dynamic in this sense: we lived together almost when we were created, and it was difficult, if not impossible, to do so from a distance. Our creation is a collective creation that always hopes to be collective. That’s why Pixar was born, a group of people who wanted to be considered as a community and that’s why it was as successful as it was. It sounds simple, and now after the event it is easy to believe, but in fact it is a daily task, a job and at the same time, a beautiful dream that is possible.”
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