![]() ![]() Expression exploration by Charlie Bonifacio (traditional). They had to design 7’s journey from scratch.” Momo and Mai character exploration by Charlie Bonifacio (traditional). It’s far more difficult than doing with a human character, like Mai, who is also on a journey. “They had to map out where they were in each scene of the film, to know which tools they could use and which they could not yet, like ‘Oh, no eyebrows yet, so let’s keep his eyes simple.’ And they did a brilliant job of it, keeping track of where 7 was on that journey. “It was an interesting challenge for the animators, who, just like in shooting a live-action film, don’t animate in sequence,” explains Ksander. As the story progresses, so does his look, with his facial expressions evolving from robotic stiffness to emotional expressiveness. Similar effort was put into developing the robot lead, 7723. Character pose exploration by Charlie Bonifacio (traditional). If you just read what was written, versus what we see in her face, thanks to these great animators, it tells us a lot more about why she is the way she is.” (Tangent’s animation team was led by supervisor Adam Beck, and leads Rob Silvestri, Jessie Lickman, and Garfie James.) Character model sheet by Richard Chen (Blender and Photoshop). It’s subtle, it’s something we all have seen in people our whole lives, and it’s a detail that goes a long, long way. “So she reacts with true sadness, and then turns that into anger. ![]() ![]() “There’s usually a slightly sad expression before she gets mad – and she doesn’t want to show that,” says Adams. Image courtesy Netflix.Ĭareful consideration was given to developing the personality of the main character, Mai, with co-director Kevin Adams speaking of the desire to give her a nuanced performance. Momo and Mai character exploration by Charlie Bonifacio (traditional). In fact, we call it ‘Happy Blade Runner.’ Craig and Richard started with a sort of 70s look and worked their way out.” Mai animation exploration by Charlie Bonifacio (traditional). It’s a fictional future retro-future city, somewhere in the Pacific Rim, but also inspired by the Los Angeles of Blade Runner. “It’s a little bit China, little bit ’70s brutalism, a little North American, and a little Amblin film. In designing the city of Grainlaind, where the film is set, Ksander says they were inspired by the original pitch written by Olivia Hao, who described a high-tech city where everything was agriculturally inspired. Sequence color key painting by Craig Sellars (Photoshop). Grainland City Park design by Craig Sellars (Photoshop). Sellars worked alongside Tangent art director Richard Chen and concept artist Thomas Pringle, to come up with a retro-future aesthetic that referenced those seventies films, but also later neo-noir works like Blade Runner and Akira. We want it to look like Parallax View and The French Connection. When we asked him to help us design the movie, he said, ‘Well, I don’t do animation.’ But we explained, ‘We don’t want it to look like animation. Says co-director Joe Ksander, “Craig is a concept artist and production designer, who mostly works in live action films. Adams and Ksander hired Craig Sellars ( Guardians of the Galaxy, Welcome to Marwen) as production designer.
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