Vaiana: "To capture reality, you have to do stronger than reality"

With Vaiana, the legend at the end of the world, the director of the little mermaid, Aladdin or Hercules experiment for the first time computer animation.For the best.

To wait until the broadcast of Vaiana, this Sunday on M6, here is a long interview with its directors, recorded by first a little before its release, in 2016 in 2016.Their comments below mainly concern this animated film, but to find out more about Hercules, the little mermaid or Aladdin, here is another extract from this captivating interview:

Vaiana, the little mermaid, Aladdin… John Musker and Ron Clements comment on their filmo

First: you must have rubbed new technology in your career with Vaiana: 3D animation.Ron Clements: We knew it would be a different experience, and it was obviously.The creation process is much more complicated, there are many more steps and it is very confusing.Everything takes place at the same time, with lots of people who work on totally different things.And it's only when everything is finished that you can really realize the result.It makes the job of director a little more complex, because it is absolutely necessary to keep a very precise vision of what you want in the end, so that the pieces of the puzzle end up assembling.

John Musker: And it gives rise to funny scenes.For example you must validate a few plans, everything is fine but you notice a bush that should not be there.And the host tells you: "Don't worry, he will not be there anymore, do as if he were not on the screen" Ah.And heaven there is not how we wanted to ’‘ no no, it’s not the real heaven ’.And you start to ask yourself what to really take seriously, because everything can be changed!

Clements: take Maui: it's a metamorph, a bit like the genius of Aladdin.By hand, it's very easy to make.On the other hand to the computer ... The animators must create a model for each change of body.And as Maui turns into a eagle, a shark and many other things, you can imagine that we don't do that in three days.We did not realize all the difficulties by launching.We learned of the hard (laughs).

There was a particular pressure that forced you to go to 3D? Musker: the industry turns more and more towards 3D.We like hand animation but it was logical that this story was made by computer, especially to have this living ocean rendering.In 2D, it would simply have been impossible.And 3D has enormous power of seduction.

Clements: water, its beauty, its texture, reflections ... It's incredible what you can do with special effects.The animation is different but the possibilities are immense.So I wouldn't say that there was pressure, we just had to meet our technical and artistic requirements.And only the computer could allow us.

The water rendering is actually breathtaking in Vaiana.You think you have established a new standard for the animation industry? Musker: I am convinced of it.It is a mixture of personality - because water is a character in its own right in Vaiana - and special effects.We really gave life to the water.We spent a lot of time doing research to understand how it works.When we were on a preparatory trip to the Pacific Islands, we were immediately fascinated by the aspect of the ocean.We made tons of photos, video, drawings ... Our obsession was to grasp what makes this water so magical.

Clements: We especially wanted to make feel what it does to be there, facing the ocean.What is fun is that you have the impression that the water is photorealist when you see it on the screen in Vaiana, but in fact it is an exaggeration.Almost a caricature.To capture reality, you have to be stronger than reality.

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No Disney film was still interested in the culture of the South Pacific.Where does the idea of Vaiana come from? Musker: John Lasseter pushed us to make a new film after the princess and the frog.It turns out that I have always been intrigued by the Pacific islands, local culture, its mythology and its history.This world had indeed never been explored in an animated film.And I learned the existence of Maui, this half-god capable of changing shape and which has superpowers.So I learned more and more, I read a lot.We had a draft of history but John Lasseter (Editor's note: artistic director of Disney Animation and Pixar) found that we were only touching the subject, so he asked us to go there, five years ago.We were able to talk to people, soak up culture and in the end we practically threw everything that we had written, with the exception of the character of Maui.We realized how important navigation was there.They were the first navigators in the world, they only moved thanks to the stars and the wind.It was fascinating.

In recent years Disney has released Zootopia, the snow queen, the new heroes, the worlds of Ralph ... There is a certain desire to extend the horizons.Today, what is the essence of a Disney film? Clements: things are never so meticulously calculated as you might think when you are an outside observer.Because these films take so long to do.We started Vaiana before Rapunzel, the snow queen, the worlds of Ralph or the new heroes.Each film has its own thing.In fact a Disney film can take any form.What unites them - and it goes back to the beginning of the studio - is emphasis on well -written characters, high -end entertainment and an immersion in a world of fantasy that seems real on the screen.When you get out of the room, you feel like you've made a trip.It remains in you, you are not forgetting it thirty minutes after.A magical experience, to summarize.

Musker: John Lasseter has very varied tastes and he hears totally different pitches every day.You can offer him anything, he is interested, he lets you develop.For Zootopia, Byron Howard told him that he wanted to work on a film with animals that wear clothes.His answer: "I love it!"John insists on the importance of storytelling and the quality of the works.It will not change as long as he is there.

Clements: the variety of Disney films may be even more important in the future.There is a very powerful creative atmosphere at the moment.I believe that one day, when we take the time to look in the rear view mirror, we will tell ourselves that it was a new golden age for the studio.

Musker: the future is promising.I have been working at Disney for 33 years, I saw so many changes ... I am 63 years old, it's quite old (laughs).Most people here are very young and it's a good thing, it revives the flame.We go in the right direction and it's extremely reassuring.

Thanks to John Lasseter?What was his arrival in 2006 changed in Disney culture? Clements: it has changed everything.

Musker: John is a director, he understands us.He is a leader who knows how to maintain and discover talents.It pushes you in your entrenchments, gives you new ideas ... We may have the most talented people in the world, if we do not know how to let them fly on their own wings, nothing good will come out.

Clements: he has an extraordinary gift for storytelling.I told you about a new golden age, a new Renaissance, and I think it is in large part thanks to him.It helps Disney creatives to bring their initial vision to the screen, often by improving it.

Does the fact that he oversees Disney and Pixar at the same time makes the border between the two studios more porous? Musker: it's interesting.The other day we were at Skywalker Ranch for the editing of the film and we came across Pixar people.We exchanged a lot with them on the technological aspect.I believe that John Lasseter especially wants to differentiate studios, even if some animators work for the two companies.These are two very different cultures and it is really on technology that we can bring things.There, there is matter to help oneself.John sees Pixar and Disney like his two children, with their own personalities.After I am sure that the people of Pixar will be amazed by Vaiana!But we were also by vice versa, lately.The important thing is that we challenge each other, so that it comes out the best, artistically and technologically speaking.

Clements: there is a friendly competition between the two studios.We love each other, but we like to compete.And I find it very healthy.

Interview François Léger

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