![]() ![]() We are a small team and you usually get one crack at it. That’s the kind of luxury big studios like Pixar have. We took an extra eight months after we had completed all the storyboards to rework the first act. Moore: The biggest thing that we did is that we had more luxury in the storyboards. Having learned that, we wanted Wolfwalkers not to have digital effects that would date in the same way. Now when we look at Secret of Kells it seems a little bit dated, a little bit too computery because of the software that was available at the time. Stewart: Even though Secret of Kells was done on paper, we did use more digital effects. ![]() How has that process evolved since Secret of Kells and Song of the Sea ? It’s part of the journey to find that you’re on a different wavelength than your parents. All the movies are set in that time between childhood and adulthood, when you’re kind of coming to understand who you are yourself and what you want. the themes we wanted to explore, and then there’s the themes you realize you’ve been exploring when you look back on your work. I think it’s something that I look back on and see a connection that I didn’t intend. What has informed your decision to tell these stories about troubled men and their spirited children? While our film might be uniquely Irish, I think it’s a story that could be told in many, many different cultures.Įach of the films in your Irish Folklore trilogy feature father figures who’ve been constrained by the circumstances of their world. Once you’re focusing on the kids’ lives and their emotional journey, then I think the setting is interesting rather than a distraction. We were aware of not going too dark in some of our scripts. It’s really just about a colonizing force and an indigenous way of life and about how those two could learn to understand each other. While our film might be uniquely Irish, I think it’s a story that could be told in many, many different cultures. Ross Stewart: You can make a gripping story set in any time or any historical place or any society. What would it take for the empathy of a hunter or someone who wants to be a hunter to change and see the world from the point of view of the thing they are hunting? That seemed to speak to a need in today’s world for people to see the point-of- view of their so-called enemies, because we’re so polarized. We knew we wanted to speak about polarization. Those were the themes we wanted to explore. We deliberately crafted something that contained all the things we were passionate about, like ecology, habitat destruction, and the folklore of the Wolves of Ossory from this region in Kilkenny. Tomm Moore: When we were making Song of the Sea, Ross and I decided that we could make a final film that would conclude the trilogy. Observer: Where did the first idea for Wolfwalkers come from? Has this always been envisioned as a trilogy? They spoke with Observer about the genesis of the movie, why they might need therapy, and the techniques they used to bring this magical story to life. Wolfwalkers directors Tomm Moore and Ross Stewart have seen their techniques become treasured once again, with new film warmly received by critics and audiences alike. But there has been something lost in the transition to an all-digital workflow and Cartoon Saloon’s movies shine with expressiveness. Many animation teams from around the world, including Disney and Studio Ghibli, have turned to CG and other techniques to make their workflow less expensive and more efficient. Robyn and Mebh must find Mebh’s missing mother and save the forest from a great evil.Įach entry in the Irish Folklore trilogy has been created with hand-drawn animation, an artform that was at one time the de facto way to animate, but has now become too costly. There she finds Mebh, a wild girl with a magical secret, the ability to turn into a wolf in the light of the moon. She wants nothing more than to impress her father (Sean Bean), and enters the woods on her own. In Wolfwalkers, a young English girl with hunting aspirations, Robyn Goodfellowe, wants to rid the woods of the wolves. Wolfwalkers concludes the Irish Folklore trilogy from Cartoon Saloon, the studio behind the visionary movies, Secret of Kells and Song of the Sea.
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