We have motion, we have animation, and we need to visualize these things in a different way. Now, a lot of times in the books it's written as just words and/or it's the equivalent of a narrator who is telling the story and suggesting these sort of different things. Hastings: Fundamentally that comes, again, from this style of storytelling that's in the books. But then we cut it in a particular way, it takes on a rhythm that becomes entertaining and fun. At first I'm kind of like, this isn't quite landing. I would say there are some moments like that that that we have, and that works. So when we do that, we're just always thinking about like, what's the next sort of level or the next step that we can take or what could we do on top of that? Definitely one of the styles of editing is there's a lot of really quick editing and things that become very fast. Again, it's this invitation to not hold back. There's just an openness to the story telling.Įditing is definitely a part of that for us. You know, people can see the mirrors and people can know that that character is playacting and all these kind of things. not movie theater, but like a play where you can use all kinds of devices to tell the story, and people can see the strings. In some ways if I think about almost like a very creative theatrical production, and I'm talking. Hastings: The editing of the show is a really important part of it. So I was just wondering what the creative process was like for that. It's a good pace, it keeps things moving along, and stuff comes out of left field sometimes. The pacing of this series is really solid. So he does puns on things that kids aren't gonna know what those are. It's also something that Dav Pilkey does a lot in the books, too. But for a kid it's just also just like, funny-sounding words. You know, there are things that obviously an adult is gonna get. I always kind of go with this approach of like, this is for people. Hastings: I have never really thought of a show that was like, this is for kids and this is for adults. How did you find the right pacing for the show, and what was the process like of editing and honing those jokes to make them punch in the right way? I always say it's like, what would George and Harold make, or what would George and Harold wanna see? George and Harold would make a cardboard robot, but they would also wanna see some giant, crazy, mecha robot in a show. So the original documents that I made were really all about capturing that tone. I did ask Dav Pilkey about it and I said, "Were you holding out 'cause you didn't wanna, you know, like Calvin and Hobbes never has gone anywhere because Bill Watterson doesn't wanna do that," and he said, "No, no, no, no," he goes, "Just every time somebody would pitch it to me, they didn't quite get it." Then finally, you know, after time kinda went by he just felt like it was in the right hands. So when I heard that DreamWorks had it, I mean, right away I was like, "Oh, that's so great, finally somebody's gonna get to do something." I think many parents have had this experience of sitting with their kid and looking at a Captain Underpants book thinking it's just gonna be obnoxious and shallow, and it turns out to be really charming and fun and clever.Īt that time, I was working in animation and I remember asking, I was like, "Who's doing Captain Underpants?" I think for a long time, all these different studios wanted to do it. I have a young son, and I think I discovered it kind of through him. Hastings: I was introduced to the books probably, I mean, I think they first came out about 20 years ago, and not too long ago, when he probably had like one or two.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |