>This, says Favreau, is what he wanted his film version of The Jungle Book to capture: not just the well-known characters and jazz-drenched languor of the Disney cartoon, but the way in which childhood, through a child’s eyes, can take on a mythic vibrancy and scale. As such, in Favreau’s Jungle Book, the leaves are a little bigger and the trees a little taller than they should be – and the wildlife a little wilder.
>While we talk, Favreau keeps pointedly calling the film’s effects team “artists”, and when I ask the umpteenth technical question of the call, he starts sounding a little irked, describes the film as “hand-made”, and adds: “the idea that you put some dots on somebody’s face and the computer spits out a performance is misleading.”
>The result, as the surrounding pictures suggest, is the most astoundingly photorealistic all-digital environment yet seen in movies – and it convinced Favreau that computer effects are at the same evolutionary stage that hand-drawn animation was in the mid-1930s, when Walt Disney decided to make his planned adaptation of Snow White and the Seven Dwarfs the world’s first full-length animated feature.
>“And the biggest victory for him, and the biggest prize, was that people were actually feeling an emotional response from watching a cartoon,” says Favreau. “It proved that you could touch people’s humanity through this new medium.”
>As a means of paying tribute, Favreau incorporated imagery into the film from Snow White, Pinocchio, Fantasia, Dumbo and Bambi: the Disney ‘Big Five’, on which the studio’s entire reputation and legacy were founded. Bambi, in particular, was a vital influence: Favreau enthuses over the “exponential growth in elegance” between the animation in Snow White and the later film, in which Disney demanded that the animals shouldn’t have human-like facial expressions or typically cartoonish movement.
>I tell Favreau that his opening shot – a dreamy pull-back through undergrowth that slowly fades from hand-drawn into CG – reminded me of the slow pans through the forest at the start of Bambi, which Disney created on a then-groundbreaking “multi-plane camera” that brought the illusion of depth to 2D artwork. All talk of motion capture’s immediately forgiven. “You found it. That was the shot,” he glows, before talking about scouring Bambi for “tonal clues” as to how to balance danger, humour and emotion without scarring his younger audience for life.
>Rather than imprint a social allegory of his own on the story, he instead wanted to draw out its “deepest, most mythic” aspects.
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>tfw seeing this tomorrow
>but in 3d
>but tomorrow
B-but I like jazz ;_;
First he gives creates the MCU for us, then he ditches when exec meddling fucks it up, and now this?
Favreau is certified Our Guy.
>Rather than imprint a social allegory of his own on the story, he instead wanted to draw out its “deepest, most mythic” aspects.
>>81621924
How can WB even compete? They should just scrap it, since it's not even filming yet.
>>81621924
>>81621935
>A Disney creator that actually thinks like a Disney creator
Not since Brad Bird have I seen such blasphemy
>>81621935
>Rather than imprint a social allegory of his own on the story, he instead wanted to draw out its “deepest, most mythic” aspects
Shots fired?
>>81622780
>>81623715
More like he says this is DEEP so disneyfags think they're watching kino.
>>81622814
>How can WB even compete?
Hi again Zemo!
>>81621924
Is there anyone alive who can stop Disney?
>>81623820
There are no intellectuals left. Only Amerifats.
>>81623783
I see reading compression isn't your strongest suit
>>81624392
>compression
>>81624392
wew lad
so, what, he wants to make a prettier avatar
I'm getting more hype by the day for this movie
