Nelson Lowry, Kubo, Director discussed on The Bancroft Brothers Animation Podcast
And it was just extremely cinematic hint seen a shot like that in a in a like, a film and immediately reacted to it. It was very much David lenient kind of a shot. Lenient? I like that does how you set. Anyway, do you have somebody 'cause I don't ever often hear about it? We talk about the design work and stuff like that. But at like, we hear more about the directors in the animators, and I don't know why that is maybe it's just a, but is there was an art director title here. Well, the production designer who has been at the studio for a long time. That's Nelson Lowry and I've worked with him. He also with him on net from most of the films here. Yes actual. Box. Trolls and carline paranoia n- and Kubo and this okay? And he was involved in the others as well. He's he is that bat that created foresee. I mean, he's fantastic. There is. There's nothing that he can't conceptualize. I think and the the the other thing about him so important, I think is that he has a thorough understanding of the medium he understands stop motion more than more than anyone. So I think that probably is that does inform the production designed to some extent because he knows how we can practically realize some of the imagery that we're creating you know, it's one thing to do. Everyone seen lots of gorgeous concept paintings, especially in all of books, and you know, but it's it's it's a different thing to actually see that on the screen in the final film. And I think more than any movie we've done that's the case with with this movie. A lot of the concept odd is does actually make its way into the movie. And I think that's Nelson, you know, Nelson and a huge team very very talented office in the in the we don't talk about this often when it comes to like, it's. It's interesting to me because I think back of you know, the second goal needs a Disney and stuff the early press was always about animation in China educate, the press of how to DNA nations done, right? Like, it was sort of this resurgence of of animations, amazing, so hard and all that. And now, you're kind of reliving that in a way they're going to the press. Look, how hard this animation is the figurine you could touch it. And it's like in their blown away everything. Yeah. Circles the hair on fire. And then, but but you don't you don't play up your artists a whole lot. I mean, this is just personal you have art of I guess, but like I don't ever hear from these guys oppression artists. Are they a lot of them are freelancers, or do you have a lot of we house? We have a lot of in house and actually with every movie, the we do get a lot of that stuff out the no you don't. Yeah. We in fact, we do hit out. I I am going to reach across this table and slap you dome because I can't. Tony did are asking for. No, no, no. We do. I mean, there's an awful lot of press out there for like as an example, Deborah cook his costume designer. Did you see? Yeah. I haven't seen her done. You've had videos behind the scenes I actually bought from Kubo. There was an extensive amount of publicize in different aspects and different job placements and stuff. And I think there was actually little mini documentary about her work specifically, right? It's quite possible. We we tend to do a lot of those behind the scenes things. I know I have seen one was amazing. I think it was the end of the like the final shot, right? Wasn't using the credits for Charles that intimated the big giant galaxy. Yeah. Yeah. Yes. And there was it was one of night Travis. Thank you. Your boss. Animating the two characters at the end outboxed troll. Yes. That was a and you could see onto on. Yeah. That's an we don't one of those on this movie as well at the tag at the end. Oh, great. In fact, I think the end credits on this movie all the best that we don't. I mean, obviously, I'm biased, but you know, typically, we've done two de animated end credits..