More Research.
I watched several DVDs and movies this week, each offering a hint of how to handle color, character, camera and chase scenes.
CHUCK JONESs: Extremes and InBetweens (I should just buy this, I've gotten it 3 times from Netflix)
I got several things from this DVD that I will incorporate into my characters.
FLAMINGO LEGS:I like the road runner's legs and how they tie into the body. I'll borrow a bit of that for my flamingo, it adds a bit of muscle as recommended by David. Not onlyl will this work for the running sequences, but also the dance sequences that will have a hint of Ballet in them.
FLAMINGO EYES: I think I've got an eye shape that will work for the flamingo, too. Something similar to the Kitten in "Feed the Kitty". slightly almond shaped that looks feminine but still has a round shape to it.
FLOATING FEATHERS: An idea that cropped up before but seemed like too much work, is back on the list of possibilities - Feathers. I'm only adding flight feathers and tail feathers on the characters, but I thought it might be effective to have a few free floating feathers, particularly pink ones, that gentlly float down if Rosa should happen quickly zip off the screen.
MOULIN ROUGE. (I've always loved this film, but this time I watched it for it's rich detail and deeply saturated color palette.
COLOR: When I showed Michael Hosenfeld my Photoshop Composite, his immediate response was "OH! Somebody LIKES color!" And I do, and it's something I want in this piece. However, I don't want it to interfere with the story or overwhelm the viewer. Watching Moulin Rouge, they seemed to break up the heavily saturated scenes with either dark scenes, or a closeup with bright highlights - s omething I plan to do. There's also a tiny scene that I'll use when Rosa is looking around the garden. An over head shot where she's seen through leaves and large colorful flowers.
A HARD DAY'S NIGHT: Camera. Wow! Such a classic. First of all, I like the claustrophobic feel as "the boys" go from room, to train compartment, to hotel room, to cab, to dressing room, staircase, etc - I think a small set adds to the energy of a scene and something I'm trying to achieve with the garden. And then that scene in the WIDE open field. I want to include a brief scene like that where all you see is the sky with the birds flying. Just a moment, but a nice break from the small garden, bird bath and leaves. Also, the movie is a great reminder to have fun, and relax and let the characters just be. If they're strong enough (one can only hope) you have to trust that people will just want to watch them because they like them, not just because they're doing something. (I think this is one of the fatal flaws in many otherwise good animated films - Shrek and Madagascar come to mind. No wonder Puss in Boots and the little critter are such scene stealers.
THE LAST KING OF SCOTLAND: OK, more color and a saturated palatte. Also, James McAvoy's eyes are so expressive. I might have to see it again just to watch his performance. This was a great movie. A bit of a stretch, but the two character's play off each other so well, and the emotion turns on a dime. All I'm shooting for is, maybe, angry to happy or happy to disappointed.
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