![]() ![]() Even in just how to climb up a pole, it was our opportunity to celebrate the difference between the two. Just in visual appeal, it makes sense all the way down to the root level. She's stable and smooth and confident, very competent as she climbs this thing, and he's rag doll and awkward and bumbling. It's having the opportunity, shot by shot by shot, physically and emotionally pulling the two apart. ![]() So now, instead of him just pulling up his legs you can have him flop and flail and maybe he slips and his leg falls off, something like that. To lock down her legs and let her upper body just pull, and you lock down the bottom half, and you celebrate the ragdoll in Woody. Even in a case like that, you can pull apart the contrast, where Bo is more reserved, she's porcelain, we want smooth movements. Woody's doing something similar behind her, going hand over hand but his legs are wrapped around the pole, he's just dragging himself up. The animator blocked in an idea where even Bo just is sort of hand-over-hand pulling herself up, and her legs are doing the same, they're echoing that, leg over leg over leg. TOWER: Very simply, there's one shot where Bo and Woody are climbing up a pole, they're moving up this ride. Being strategic to not lose the impact of certain moments. Being really specific with our choices, so that we're just being very thoughtful when she's upset, when she isn't happy. The power of that, by having it too far everywhere else. Yeah, and when she gets triggered, making sure there's a specific reason and that we don't lose the emphasis of that. Becki, you guys did such a great job pulling that off and making sure she's really controlled. We wanted to make sure we nailed, at certain times, she's heightened in what she feels. HOBSON: There's a lot of challenges, but definitely we talk a lot about the aggression of Bo, how to make her forceful and strong, but that can very easily read, especially in women characters, as annoying or unnecessarily mean. Making sure that's related to animation, then they'd pull off these amazing performances.Ĭan you remember the hardest thing to then bring to life visually, or make gel between the story side and visual side? ![]() ![]() Thankfully, Becky and I had a constant communication early on and we'd constantly be like, "This scene, there's a lot of subtext." Always tracking Bo's emotional state throughout the movie. But oftentimes the drawings look really derpy, and very minimalist. HOBSON: We were just talking about how much in boards there's so much thinking that goes into them. What about this physicality test that might help with that?" What are you trying to figure out that an animator could step in and logically help you break that down? "If you did that, it might look like this on-screen. So we get in a lot of conversations of, "Okay, where do you think you're going?" Then we would just really try and riff with you and figure out how we could be helpful. But how could we put Bo in this position that challenges that belief system? So we did a lot of brainstorming sessions and story to find her specific personality traits.īECKI TOWER: In animation, we're here to support story. He thinks there's one set way and he's always the one in charge of the room. Woody's a character that thinks he always knows best. A lot of it had to correlate to Woody and what he was going through. We talked about all the possibilities of directions, but we also didn't want it to be so widespread that it didn't feel focused. Collider: When you first came on to the project, what were those first days of figuring out Bo like?ĬARRIE HOBSON: Yeah, the first days, I think Bo was such a blank slate still. ![]()
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