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  • I'm the baby, gotta love me.

  • Again!

  • [LAUGHTER]

  • [MUSIC PLAYING]

  • JENNY: Today, we're off to the Great

  • Fefore to talk "Soul," heading back in time with "Dinosaurs"

  • and stepping into the unknown for "Myth: A Frozen Tale."

  • I'm Jenny.

  • I'm Andre, and this is "What's Up, Disney+," where

  • we talk all things Disney+.

  • I'm so excited for our first guest.

  • He has worked on some of Pixar's top movies, including "Up,"

  • "Finding Dory," "Ratatouille," "The Incredibles,"

  • "Monsters, Inc.," and so much more, not to mention "Soul."

  • Yes, please welcome Robert Grahamjones.

  • Thank you so much for being on this show today, Robert.

  • How are you doing today?

  • Oh, I'm doing wonderfully.

  • Thank you for having me.

  • I'm so excited to be here to talk to you both.

  • So for our viewers who may not know,

  • will you tell us what the responsibilities

  • are of an editor, particularly on an animated film?

  • An editor on an animated film has a couple

  • of very important duties.

  • One of them is to cut storyboards.

  • A storyboard is a black-and-white picture.

  • It's also called an animatic.

  • What we do is we cut them with temporary dialogue,

  • music, and effects to replicate what a film will look like.

  • You want to know that the story is gonna

  • work first before you animate.

  • We'll be cutting storyboards for, I would say,

  • two years before we start going into the layout phase.

  • The layout phase is where you put the characters

  • in a virtual camera.

  • Once we cut the layout, we turn it over to animation,

  • and the animators animate to that.

  • The whole process can take three or four years,

  • and it's very complicated and very

  • different than live-action editing.

  • But I'm very excited about doing it.

  • Some people are like, oh, animation, it's just they draw,

  • and it's out. It's like, no.

  • No.

  • Clearly, there's a lot that goes on.

  • And then, once the animation is done,

  • then you cut that up as well.

  • - Correct. - Yeah.

  • Cut it up and put it back together.

  • I'm sure it's happened, though, where you've had to cut

  • something that you didn't want to cut,

  • and you had to for the sake of the story or timing.

  • That happens all the time.

  • As editors, what we try to do is think of the story as a whole

  • and not fall in love with any little part,

  • because there can be some little performance that's outstanding.

  • But if it doesn't play into the overall story,

  • then we can't use it.

  • We want to look at the film like the audience

  • is looking at the film.

  • That makes a lot of sense.

  • And how did you get started in your career,

  • and did anybody specifically inspire you?

  • I started out as an apprentice at this animation house.

  • I spent maybe 10 years as an assistant editor

  • in live action, went back into animation.

  • So my career is kind of balanced all over the place.

  • But I've been at Pixar now for 22 years.

  • So I've kind of settled into a groove here.

  • That's incredible. Yaaass, Pixar.

  • What is a scene or moment in "Soul" that you're

  • especially proud of?

  • There's a scene in "Soul," we call it the barbershop scene.

  • And it's the scene where 22 and Joe go to the barbershop

  • to clean up Joe's bad haircut.

  • On the surface, it looks like a pretty simple scene.

  • But there are a lot of characters.

  • It's a pivotal moment in the story where

  • Joe starts to realize maybe he could look at the world

  • in a different way.

  • I feel really proud of the scene,

  • but I also have a lot of gratitude

  • that I got to approach that scene.

  • Yeah, I love that barbershop scene.

  • It was so good and so authentic as well.

  • Like, I've been to barbershops just like that.

  • That brings me up to another question

  • because you have movies like "Soul" and "Coco."

  • You have shorts like "Bao" and "Out."

  • We've seen a lot of great diversity on-screen at Pixar.

  • Why do you think it's important to have diversity

  • and representation behind the camera

  • to enrich the storytelling?

  • When thinking about the barbershop,

  • the barbershop has its own rhythms, its own way

  • that people are interacting.

  • We really wanted that scene to feel authentic.

  • As a person of color, a person who's been to barbershops

  • many times, I felt like I could bring something to that scene

  • that other people may not have been able to.

  • You want the storytellers to have

  • empathy and understanding of the situation

  • that the story is trying to tell.

  • So I'm very proud of the barbershop scene.

  • So I have to ask.

  • You've been with Pixar for over 20 years.

  • Is there any project that stands out for you, and why?

  • "Soul" has been such an amazing project for me

  • on so many levels.

  • Part of it is that "Soul" has a Black protagonist.

  • It's a really exciting story to tell.

  • There are various pieces of the story

  • that really affect me also.

  • So, for example, I play trombone.

  • They used some of my trombone playing

  • in the temporary part of the movie.

  • ANDRE: Wow.

  • It's just such a crazy thing.

  • So many of my different interests

  • kind of came into play in this movie, not to mention

  • the kind of existential questions

  • that are so profound and open-ended.

  • Everybody seems to have a little different take on it.

  • ANDRE: Yeah. JENNY: Wow.

  • I think that's a great thing when people have

  • a different take on a movie because it's just hitting

  • people in different ways.

  • "Soul" has been just an amazing film to be associated with.

  • And I feel really lucky and blessed

  • that I was able to be on it.

  • Yeah, this is why it's great to have people like you

  • behind the scenes working on projects like this because,

  • like you said, that authenticity shows through.

  • JENNY: Yep.

  • Thank you for talking with us today.

  • Like, this has been so great.

  • Oh, thank you.

  • It's been wonderful.

  • ANDRE: Be sure to check out Robert's work in "Soul,"

  • now streaming on Disney+.

  • One of my favorite animated series on Disney+

  • is "The Proud Family."

  • Love that show.

  • So I am proud to tell you that we have a special announcement

  • from "The Proud Family" producers,

  • Bruce W. Smith and Ralph Farquhar.

  • Hey, what's up, everybody?

  • I'm Bruce Smith.

  • And I'm Ralph Farquhar,

  • and we're the executive producers of "The Proud

  • Family: Louder and Prouder."

  • And we're excited to bring "The Proud Family" back

  • for original fans and also introduce this family to

  • a whole new generation of fans.

  • So if you're not familiar with our gang, don't worry about it.

  • We're gonna give you a quick 60-second rundown on who's who.

  • So let's dive right in.

  • Penny Proud, center of all of our stories,

  • 14 years old and loving it.

  • RALPH: Bebe and Cece, Penny's younger twin siblings--

  • they can talk, y'all, but it's all gibberish.

  • BRUCE: Trudy, Penny's mom, also the owner of her own business,

  • Trudy's Pet Ambulance.

  • RALPH: Oscar Proud, Penny Proud's overbearing dad,

  • and he's more overbearing than ever.

  • BRUCE: Uncle Bobby, Penny's uncle, Oscar's brother,

  • and Suga Mama's favorite son.

  • Oh.

  • RALPH: Suga Mama, Penny's grandma, Oscar's mother,

  • the truthteller of the family.

  • BRUCE: Puff, Suga Mama's dog.

  • RALPH: Papi, Suga Mama's unwitting boyfriend

  • and the father of Felix.

  • BRUCE: Felix, LaCienega Boulevardez's

  • dad, and also runs his own construction company.

  • RALPH: Sunset, Felix's wife--

  • she and Felix are Oscar and Trudy's

  • best friends despite the fact that their daughters

  • are frenemies.

  • BRUCE: LaCienega, forever the frenemy to Penny Proud.

  • RALPH: Zoey, Penny's good friend, part of the crew.

  • BRUCE: And Dijonay, her loyalest friend.

  • RALPH: Maya, the new kid on the block, and she's woke, y'all.

  • We're still in the middle of production,

  • but we just wanted to give you guys a sneak peek

  • at all of these characters.

  • BRUCE: We can't wait for you to see what they've been up

  • to on "The Proud Family: Louder and Prouder,"

  • coming to Disney+.

  • THEME SONG: Proud, proud family.

  • [MUSIC PLAYING]

  • JENNY: Mark your calendars because we

  • have brand new Disney+ original series announcements.

  • ANDRE: It's time to welcome a new generation

  • of game changers.

  • Start streaming "The Mighty Ducks: Game Changers"

  • on March 26.

  • JENNY: This is a shot he can't afford to miss.

  • "Big Shot," an original series starring John Stamos,

  • starts streaming April 16.

  • ANDRE: On May the Fourth, we have "Star Wars, The Bad Batch,"

  • which follows the elite and experimental clones

  • as they find their way in a rapidly changing galaxy

  • in the immediate aftermath of the Clone War.

  • JENNY: We think you kind of know where we're going with this.

  • That's right, season two of "High

  • School Musical: The Musical: The Series"

  • starts streaming May 14.

  • ANDRE: On June 11, you can start streaming

  • "Loki," an original series from Marvel Studios.

  • JENNY: Zen mode on.

  • Season two of "Zenimation" also starts streaming June 11.

  • ANDRE: One mission will hold the answer

  • to the world's greatest riddle.

  • "The Mysterious Benedict Society," an original series,

  • starts streaming June 25.

  • JENNY: And in July, it'll take some monster-sized laughs to

  • generate Monstropolis's power.

  • "Monsters at Work" starts streaming July 2.

  • ANDRE: Partner up with "Turner & Hooch,"

  • an original series, when it starts streaming July 16.

  • And don't miss the first episode of "Chip 'N' Dale: Park Life"

  • on July 23.

  • Hey, Andre, have you ever wondered

  • what it would be like to grow up in, I don't know,

  • 60,000,003 BC?

  • Believe it or not, I have.

  • Being a mighty Megalosaurus would have been meg-nificent.

  • Tree-pushing at its finest, HYAH!

  • JENNY: We're, of course, talking about "Dinosaurs."

  • The series follows the Sinclairs, a family

  • of dinosaurs living in prehistoric

  • Pangaea, navigating the ups and downs

  • of domestic dinosaur life.

  • I am so glad that "Dinosaurs" is on Disney+,

  • because I grew up with this show. Love it so much.

  • Jenny, were you a fan of "Dinosaurs" as well?

  • Oh, my gosh.

  • I grew up watching the show.

  • I actually had a Baby Sinclair doll.

  • Aw.

  • It's a great show.

  • It plays on different layers.

  • There's stuff for kids enjoy with all

  • the animatronics, which are amazing even to this day.

  • Well, speaking of, did you know that not one,

  • but three performers brought Earl Sinclair to life?

  • And we are lucky to have Bill Barretta

  • and Stuart Pankin with us here today on "What's Up, Disney+."

  • Welcome to the show, guys.

  • Bill Barretta's here?

  • Stuart's on this?

  • Unbelievable.

  • How long has it been, truthfully, since you guys

  • have seen each other in person?

  • Oh, my God, it's been 30 years.

  • - Yeah, 30 years. - Yeah.

  • What?

  • Wow.

  • "Dinosaurs" was so innovative.

  • Can you tell us about the series and what makes it so special?

  • It was special for a lot of reasons. The costumes.

  • The animatronics-- unbelievably complicated and sophisticated,

  • in my opinion.

  • And a new technology at the time.

  • STUART: As far as the writing is concerned,

  • it was a show that kids could enjoy because of the puppets,

  • and adults could enjoy it because

  • of some of the political and social commentary.

  • All that stuff came together to make it a fun-filled romp

  • for the whole family.

  • You know, it was my first big thing coming to Hollywood.

  • And so I was just fortunate to be working.

  • A Henson and a Disney collaboration,

  • and then to be able to collaborate

  • with the other people that were providing

  • the kind of topping third--

  • myself in the suit, Mack Wilson or Dave Goelz,

  • who operated the facial manipulation,

  • and then, of course, Stuart, who brought

  • in the Stuart of it all.

  • It was amazing.

  • Yeah, and that was so great that all three of you

  • came together to create such a character

  • like Earl Sinclair, which is one of my favorite TV dads.

  • Oh, wow.

  • What was it like to work on "Dinosaurs"?

  • Can you walk us through the mechanics

  • that brought Earl to life?

  • The workshop worked very hard.

  • And they would bring these gigantic suits up to the stage,

  • and every day they would have people

  • who took care of us, who helped us get

  • in and out of these huge suits.

  • I think Earl's body was probably 80 to 90 pounds.

  • Just behind cameras were a row of puppeteers where they had

  • something like a joystick that had all kinds of little levers

  • and buttons, and each one of those

  • were assigned different things they could

  • program for facial features.

  • Once we captured a scene or a take, Stuart would come in.

  • And then he can certainly speak to what

  • that was like because that couldn't have been easy.

  • Well, it wasn't like wearing, you know, a 90-pound suit.

  • [LAUGHTER]

  • The scene came to us, and we had to match the voices.

  • If the line was "Come on, Robbie,

  • don't eat that sandwich," you'd hear beeps in your earphone.

  • You go beep, beep, beep, and you'd see, "Come on,

  • Robbie, don't eat that sandwich," on the screen.

  • And you would have to beep, beep, beep, "Come on, Robbie,

  • don't eat that sandwich."

  • And we basically went through the show

  • and replaced the puppeteer's voice and movement.

  • That is just amazing.

  • I mean, it's one thing to have one performer have

  • to get it right, but to have multiple performers come

  • together at different times--

  • Yeah.

  • --to get it all to look like one

  • solid character, which you did.

  • That's a good point.

  • I mean, they weren't together.

  • It was separate times.

  • So how does it feel to have "Dinosaurs" finally on Disney+?

  • What do you hope the audience takes away from rewatching

  • or discovering the show?

  • I've been rewatching.

  • I haven't watched these in I can't even

  • tell you how long it's been.

  • I've been laughing out loud.

  • The editing was great.

  • The writing was great.

  • And I've just been really reliving moments, going,

  • did I actually do that?

  • I don't even remember being there.

  • [LAUGHTER]

  • But honestly, I'm so happy it's back.

  • I think families are gonna love it

  • just like they did back then.

  • It's a great show.

  • I have to say it.

  • It is.

  • People could relate to a lot of those characters--

  • the brother, the sister, the mother, even the tough boss.

  • That's one of the reasons that the show got to people so much.

  • And just speaking of something I

  • never noticed before, I was just watching the other night.

  • It's the one where they bury Ethyl,

  • and everybody's faces are leaning in.

  • And Earl comes in, and he goes, no, no, no, no, no.

  • Don't wake her up.

  • And Ethyl brings up a shovel and whacks him right in the face,

  • and he falls backwards.

  • And when he falls, I accidentally

  • kick Charlene in the face.

  • I never noticed that before, but the people in the ADR

  • room and the people who did the recording, they noticed it.

  • And you can hear Sally Struthers, doing Charlene,

  • who says, ow, you kicked me.

  • [GROANS]

  • Dad? Ow.

  • What? Huh?

  • You kicked me.

  • They add these little things that you never noticed before.

  • There's always something really fun.

  • So Bill, you have an awesome YouTube channel.

  • Can you tell us about that?

  • I share it with my brother Gene Barretta,

  • who's an author-illustrator.

  • He and I started this show about all things

  • Muppet and Henson and Disney.

  • And we did a 30th anniversary episode celebrating "Dinosaurs"

  • coming to its 30th year.

  • And we had the writers, the producers, the creators,

  • the workshop people.

  • If you go to thebarrettabrothers.com,

  • you can see all of our past episodes.

  • And then, we're going to actually have Stuart on.

  • He's gonna be joining us in a couple weeks.

  • So please, come join us.

  • This has been such a blast. Such talent in the suits,

  • outside of the suits.

  • Yeah.

  • I can't thank you both enough.

  • Thanks.

  • Thank you guys. Thank you so much.

  • It was a pleasure for me.

  • Be sure to check out "Dinosaurs,"

  • now streaming on Disney+.

  • "Myth: A Frozen Tale" is coming to Disney+.

  • Like "Cycles," from Disney Animation's Short Circuit,

  • this virtual reality short now has

  • a new streaming version that you can watch on your TV at home.

  • JENNY: The short starts off as a traditional bedtime

  • story in Arendelle.

  • But suddenly, we are transported to an enchanted and mystical

  • forest where the elemental spirits from "Frozen 2"

  • come to life.

  • Hi, I'm Jeff Gipson, director of "Myth: A Frozen Tale."

  • And I'm Brittney Lee, the production designer.

  • And we're gonna break down a scene for you.

  • So the scene we're going to be watching

  • is the Water Nokk scene.

  • And this is the water horse from "Frozen 2."

  • Basically, the film is about the balance of the elements.

  • So when you first start this scene,

  • you'll see that there's flames and fire.

  • So this is the fire spirit, the salamander.

  • The rain starts coming down, this waterfall

  • appears, and then out of the waterfall

  • emerges the Water Nokk.

  • It basically balanced out the previous spirit.

  • For our Nokk, we really wanted to push

  • the stylization because the nokk in "Frozen 2" is so fantastic.

  • But we were representing sort of a storybook,

  • fairy-tale version of it.

  • So we wanted to make that clear and do

  • something that was a little bit different and more stylized.

  • We thought it would be great to combine some CG and 2D effects

  • to really have this sort of tactile, tangible quality

  • to the film.

  • And you could see it here in the water effects.

  • [THUNDERCLAP]

  • [HORSE WHINNIES]

  • This horse is scared, it dives into the water,

  • and then we see the power of the water,

  • the power of this flood that then comes

  • down moving towards the viewer.

  • And then we have the earth that begins to balance out

  • this spirit and form this dam.

  • It turns into the day, the rain dissipates,

  • and we really just tried to play off

  • that each one of the spirits is neither good nor bad.

  • They just kind of are.

  • And together they create this harmony

  • where the world can dance.

  • Yeah, kind of a duality between all

  • of the elements in nature.

  • And the sweet spot is in the balance.

  • Jeff and Brittney, thank you for being

  • here and for all that insight into "Myth: A Frozen Tale."

  • Tell us what inspired the story behind the short.

  • So the inspiration behind this story

  • was my love of bedtime stories.

  • I just loved how they kind of made my imagination

  • wander into these places.

  • And so I started thinking of what was a bedtime story

  • that you might have been told if you grew up

  • in or around Arendelle? And kind of led myself

  • to this world of "Myth: A Frozen Tale"

  • where the elemental spirits are the main players.

  • So this projectile features both

  • hand-drawn and CG animation.

  • What made you want to combine those two elements,

  • and how did that influence the storytelling process?

  • Yeah, I mean, I love the heritage

  • of Disney Animation, all those 2D films,

  • but in particular "Fantasia."

  • That was just such a big inspiration.

  • They tell stories through music and the hand-drawn,

  • and so I wanted to bring that similar vibe into VR, but also

  • just how do we make a real-time short

  • that's flat and on a screen?

  • Having Brittney on board and her kind of stylistic sensibilities

  • was amazing because I feel like we

  • really achieved something cool.

  • Yeah, I'm a huge fan of traditional animation.

  • And we do a lot of work in CG.

  • But because "Myth" was going to be an even further stylized

  • version of the "Frozen" world, it

  • seemed like a perfect opportunity

  • to sort of introduce those little elements that we could

  • play with in hand-drawn animation

  • and play into that "Fantasia" aspect

  • that Jeff was talking about.

  • The film was originally created in virtual reality,

  • so can you tell us what it was like to use

  • VR in the creation process?

  • Brittney and I were able to be in the VR headsets

  • as we created these worlds.

  • And we were able to see the world being created,

  • basically in real time.

  • It was a really unique process for us at Disney Animation.

  • Yeah, I'm sure that we looked pretty ridiculous to those

  • outside watching us do this.

  • But for me, I had no experience with VR prior to this project.

  • It was actually such a great learning experience.

  • And being in the middle of the film that you're working on

  • is like nothing else.

  • How does it feel to have "Myth: A Frozen Tale"

  • on Disney+, and what do you hope viewers take

  • away from watching this short?

  • It's amazing to have it on a platform like Disney+,

  • where my family, all my friends at home,

  • they can now watch that film.

  • And I hope that it invokes that sense of heritage of Disney

  • Animation, where there's this richness

  • of traditional animation mixed with CG and music.

  • It's just so exciting.

  • I feel so fortunate to have it on Disney+.

  • Yeah, I agree.

  • We've been living with this for so long,

  • and we've been working on it and been so excited about it

  • that it's just so nice to now be able to share it with everyone.

  • And hopefully, people will enjoy it as much

  • as we enjoyed working on it.

  • You can experience "Myth: A Frozen Tale" for yourself

  • now streaming on Disney+.

  • From the Great Before to Pangaea,

  • all the way to Arendelle, we certainly covered a lot

  • of territory today, Andre.

  • Not an easy trip to pack for, but definitely

  • worth the journey.

  • Be sure to head over to Disney+ to stream

  • all of your favorites.

  • Not the mama!

  • Not the mama!

  • We're gonna need another Timmy.

  • [LAUGHTER]

  • Again!

  • [MUSIC PLAYING]

I'm the baby, gotta love me.

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靈魂、恐龍和神話的幕後:冰雪奇緣的故事|What's Up,Disney+|第十七集 (Behind the Scenes With Soul, Dinosaurs, and Myth: A Frozen Tale | What’s Up, Disney+ | Episode 17)

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    林宜悉 發佈於 2021 年 02 月 26 日
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