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  • - [Narrator] Stop-motion animated movies

  • have been around a long time,

  • but there's a Hollywood studio solely dedicated

  • to bringing the animation style into the 21st century.

  • Laika Studios is responsible for movies like "Coraline,"

  • "ParaNorman," "Kubo and the Two Strings,"

  • and most recently "Missing Link."

  • Creating each movie is more painstaking

  • than the last for the Oscar-nominated studio,

  • with "Missing Link" being its most ambitious to date.

  • - I think for me stop-motion is truly special

  • because it has a unique quality to it that almost go...

  • It speaks to your childhood, when you're a kid,

  • and you're playing with toys,

  • and you're imagining them coming to life.

  • - [Narrator] This is Chris Butler.

  • He's the movie's writer and director.

  • He decided to direct "Missing Link"

  • in the vein of "Raiders of the Lost Ark"

  • and "Around the World in 80 Days."

  • And it was an idea 15 years in the making.

  • But first, a little background.

  • The first stop-motion animation film

  • is thought to be 1898's "The Humpty Dumpty Circus."

  • It's a painstaking process in which objects

  • are moved in small increments, frame by frame.

  • And though it's difficult, it's stood the test of time,

  • and few places are doing it better right now than Laika,

  • which was first founded in 2005

  • and continues to push the envelope

  • while remaining true to stop-motion roots.

  • Take for example its use of rigging systems

  • as seen on this horse puppet.

  • The rig doesn't help move the puppet

  • but rather enables animators to manipulate it.

  • This is helpful for puppets of unusual shapes and sizes

  • and thus allows the animators to dream big.

  • It also came in handy for some of the movie's action scenes

  • like one that takes place on a collapsing ice bridge.

  • - If you think about a character jumping,

  • while its feet are on the ground,

  • you can manipulate that puppet.

  • But what do you do for the frames

  • when its feet are off the ground?

  • It can't mysteriously float,

  • so you have a rig attached to it

  • that will support its weight.

  • - [Narrator] Even with the support system,

  • this sequence was so complicated

  • that it took about a year to shoot.

  • - Even when I was writing that I thought,

  • "I shouldn't be writing this."

  • - [Narrator] Butler wanted the action to feel like something

  • you might see in a live-action movie.

  • In "Missing Link," Hugh Jackman plays Sir Lionel Frost,

  • an adventurer who discovers the missing link,

  • known to some as Bigfoot or Sasquatch,

  • voiced by Zach Galifianakis.

  • - Well, that didn't go as planned.

  • - [Narrator] Frost is given an unlikely task:

  • helping unite Link with his long-lost ancestors.

  • "Missing Link" is the first Laika production

  • in which all the main protagonists are adults,

  • and it greatly shaped how the movie was designed.

  • - You base the scale of the movie

  • around the size of your main character.

  • - [Narrator] So it's not the puppets themselves

  • that need to be bigger,

  • but what they interact with needs to be smaller.

  • - There is an optimal size for a puppet.

  • It's around about 12, 13 inches.

  • That's a good size.

  • If you get bigger than that,

  • then the poor animator has to wrestle with it.

  • If you get smaller than that,

  • then you can't get the amount of mechanics

  • into the actual puppet that you require.

  • So that's a good size.

  • - [Narrator] Sir Lionel Frost hit the sweet spot

  • at about 13 inches tall.

  • Link, meanwhile, stood at about 16 inches tall.

  • The sets on "Missing Link," Butler estimated,

  • were about two-thirds the size of those on "Kubo,"

  • which meant they could fit more sets into one building,

  • which is very useful for a movie

  • that had such a wide array of locations,

  • including forests, mountains, and the open ocean.

  • But you wouldn't call any of these constructions

  • tiny at all.

  • - I think the hardest character on "Missing Link"

  • was probably Link himself.

  • He's certainly the most complicated puppet

  • that we've ever had at the studio.

  • I think he took over a year to figure out,

  • and really it's because he's covered in hair head to toe.

  • And it doesn't help that he is the shape of an avocado.

  • He doesn't have a neck.

  • He's basically a big, cuddly lump.

  • - [Narrator] Fur might be the most difficult part

  • of the design of a given claymation character.

  • Butler and the "Missing Link" team found a way around this.

  • They didn't cover Link in actual hair.

  • - I think because of the stylization of this movie,

  • we decided that Link should...

  • His hair should look the same

  • as the hair on the heads of the characters.

  • So we went for this very intricate, sculpted tufting,

  • which was hand-sculpted in clay and then cast,

  • and eventually he became a silicone puppet.

  • - [Narrator] The world the characters

  • are given to inhabit is truly amazing.

  • The crew built a moving train

  • and an accompanying track for it.

  • A sequence set inside a stagecoach

  • was powered by motors and rumble seats.

  • Yet this famously practical medium isn't CGI-free.

  • The Loch Ness Monster, who pops up early in the movie,

  • required CG animation for most of its massive body.

  • The head and neck are practical,

  • but a lot of what you see underwater

  • had to be computer-animated.

  • This is just one of the ways in which stop-motion,

  • which has been around practically since the start of movies,

  • stays modern without abandoning what makes it so special.

  • - I think as long as there are artists out there

  • who love and respect the medium of stop-motion,

  • there will continue to be stories told.

  • I don't think it will ever really go away.

  • It just requires people to champion it.

  • Certainly at Laika, we love it.

  • We love the look of it. We love the feel of it.

  • We love the artistry of it,

  • and I think as long as you can still move with the times,

  • you can still use technology to help,

  • but you can embrace stop-motion for what's special about it.

  • In the end, for me what that means

  • is it's real light on real objects,

  • and there is something about the imperfection of reality

  • that is magical.

- [Narrator] Stop-motion animated movies

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電影《失落的鏈接》背後的工作室是如何將定格動作電影動畫化的? (How Stop-Motion Movies Are Animated At The Studio Behind 'Missing Link' | Movies Insider)

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    邱于嘉 發佈於 2021 年 01 月 14 日
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