Walt Disney Pictures presents a Pixar Animation Studios, Disney Enterprises' Animation, Action, Adventure, Family directed by
starring Albert Brooks "Marlin" (voice), Ellen DeGeneres "Dory" (voice), Alexander Gould "Nemo" (voice), Willem Dafoe "Gill" (voice), Brad Garrett "Bloat" (voice), Allison Janney "Peach" (voice), Austin Pendleton "Gurgle" (voice), Stephen Root "Bubbles" (voice), Vicki Lewis "Deb / Flo" (voice), Joe Ranft "Jacques" (voice), Geoffrey Rush "Nigel" (voice),
"Crush" (voice), Elizabeth Perkins "Coral" (voice). Story by:
, Bob Peterson, David Reynolds. Producer: Graham Walters. Executive Producer:
. Associate Producer: Jinko Gotoh. Director of Photography: Sharon Calahan, Jeremy Lasky. Director of 3D Production:
. 3D Supervisor:
. Composer: Thomas Newman. RELEASE DATES: 16 JANUARY 2013 (FRANCE) / 14 SEPTEMBER 2012 (USA)
WRECK-IT RALPH Walt Disney Studios Motion Pictures' Animated comedy directed by Rich Moore starring John C. Reilly, Sarah Silverman, Jack McBrayer and Jane Lynch.
BRAVE Pixar Animation Studios, Walt Disney Pictures' Animation, Action, Adventure, directed by Mark Andrews, Brenda Chapman starring Kelly MacDonald.
MONSTERS UNIVERSITY Walt Disney Pictures presents a Pixar Animation Studios' Animation, Adventure, Comedy, Family, Fantasy directed by Dan Scanlon.
FINDING “NEMO’S” LOOK AND STYLE: PRODUCTION DESIGN AND CINEMATOGRAPHY: Overseeing the production design for “Finding Nemo” was Ralph Eggleston, a Pixar veteran who had served in a similar capacity on the original “Toy Story” and had gone on to direct the Studio’s Oscar®-winning short “For the Birds.” He prepped for his role on this film with several diving trips and a visit to Sydney Harbor to get the lay of the land and sea. The film’s two directors of photography – Sharon Calahan and Jeremy Lasky – brought their expertise to the areas of lighting and layout, respectively, to help capture Stanton’s vision for the film on screen. “The music, the color and the lighting, to me, are the things that really give the underlying emotion of every scene,” says John Lasseter. “And the lighting and color in ‘Nemo’ is always used for storytelling. Ralph Eggleston is a master at that, and Sharon Calahan knows how to get that on the screen.” “One of the biggest decisions we had to make was how much to caricature reality,” recalls Eggleston. “Fish have an almost caricatured shape to begin with and Andrew was fairly adamant that he didn’t want to overly anthropomorphize the characters. And so we actually had to go the other way and bring the world closer to the caricatured nature of the fish. If we put these fish in anything that looked even quasi-real, it wouldn’t work. The characters and the world had to be on a parallel track. “One of our first priorities was to make the fish seem appealing,” he adds. “Fish are slimy, scaly things and we wanted the audience to love our characters. One way to make them more attractive was to make them luminous. We ultimately came up with three kinds of fish – gummy, velvety and metallic.The gummy variety, which includes Marlin and Nemo, has a density and warmth to it.We used backlighting and rim lights to add to their appeal and take the focus off their scaly surface quality. The velvety category, which includes Dory, has a soft texture to it. The metallic group was more of the typical scaly fish.We used this for the schools of fish.” Eggleston and Calahan shared a love for the soft, bright Technicolor films of the 1940s and had frequently discussed making a brand new CG animated film that looked like it was from that period of time. With “Nemo” they got their chance. The underwater setting lent itself to soft backgrounds and characters with a glow around them. Eggleston says, “‘Nemo’ doesn’t look like a three-strip Technicolor film, but rather a modern version of the quality you could achieve with this process. Another big inspiration for us was Disney’s ‘Bambi.’ It’s a very impressionistic film.Things fall off in the backgrounds, and you focus on the characters. That’s the approach we adopted.The film begins with an intense Garden of Eden coral reef. From there, the underwater backgrounds tend to become more impressionistic with just a mountain or sandy bottom in view.” Describing “Finding Nemo” as the most complex film Pixar has ever made from a lighting perspective, Calahan observes, “A big part of our job was creating believable underwater environments. And that took on many forms since we had clear water, super-murky water and even water in a fish tank.We had to figure out the common elements so that stylistically we could tie them all together.” Calahan credits Stanton with “having an amazing eye for forms and designs. Design themes and strong graphic elements are really important to him and he really gravitates towards them.Which is great because it creates a strong visual structure for the film. He’s also a lot of fun to work with because he is willing to take some risks and experiment. Andrew also took a real interest in what lighting could do to plus the emotional content of the movie.” In the end, Pixar’s technical team exceeded even their own expectations. Eggleston notes, “Seeing the coral reef up there on the big screen is simply amazing. Every piece of coral is backlit and the entire set is like a jewel underwater. I always thought it would look good but I had no idea it would look like this. I was the third person to work on this film, so I’ve been part of the technical process since the beginning, and still I found myself sitting in the theater thinking ‘How did they do this?’”
FINDING NEMO 3D ( LE MONDE DE NEMO )
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"Nigel To Rescue"
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"Short Term Memory Loss"
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"A Lesson In Flashbacks"
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"Fish Are Friends"
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"I'm From the Ocean"
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FINDING NEMO 3D Walt Disney Pictures presents a Pixar Animation Studios, Disney Enterprises' Animation, Action, Adventure, Family directed by Andrew Stanton.
THE SOUNDS OF “FINDING NEMO”: THOMAS NEWMAN’S SCORE AND GARY RYDSTROM’S SOUND EFFECTS MAGIC Music and sound effects are integral parts of any motion picture experience and the filmmakers at Pixar have always used these elements to maximum advantage. With “Finding Nemo,” Andrew Stanton got a chance to form a new collaboration with composer Thomas Newman, and continue a long-standing relationship with multiple Oscar®-winning sound designer Gary Rydstrom. Newman, a five-time Oscar® nominee and a recent Emmy winner for his theme for “Six Feet Under,” was a major inspiration for “Finding Nemo” even before he came on board. Stanton wrote the screenplay for the film while listening to Thomas Newman scores on his headphones. During the editing process, Newman’s music was used in the scratch track as much as possible. Co-director Lee Unkrich describes Newman’s music for “Nemo” as “a very lush orchestral score that has a lot of very quirky and interesting instrumentation layered in. There’s an unexpected quality about it.You don’t always know what you’re hearing or what some of the sounds are. He does a lot of overdubs, where he’ll gather a group of musicians together apart from the orchestra session and have them play lots of interesting percussion and instrumentation. Then he’ll layer that into the music that’s been recorded on the soundstage with the orchestra. “It’s been a real joy to work with him and he’s been working with us very much as if he’s a part of Pixar,” adds Unkrich.”We wanted him to have as much freedom as possible. He’s been an amazing collaborator who wants to support the film in every way he can. He knows how hard we’ve been working on it and wants the film to be great. This is really the first big action film he’s scored. His music often has a moody and darkly humorous quality.” Producer Walters agrees, “Thomas would play everything for us on his keyboard sequencer at his house. Towards the end of production, we would go down there almost once a week and hear all the music to picture mocked up in his studio. It was an unbelievably good working experience. By the time we got to the recording sessions,we had heard everything but it sounded so much better with a 105-piece orchestra. For our film, he also did his signature overdubs, where he goes in with his posse ahead of time and records things to go on top of the orchestral stuff. With the turtle drive scene, the music breaks into a full-on classic surf rock sound. His score is very classy and it plays the emotions a lot.” The filmmakers came to regard Newman’s score as being practically a character in the film. His reputation for originality and intensifying mood and character through music added an additional level of entertainment and enjoyment. Seven-time Oscar®-winning sound designer Gary Rydstrom has worked on every one of the Disney/Pixar features released to date and preceded that with work on such Pixar shorts as the 1989 favorite, “Knick Knack.” He once again lends his incredible talent to complete the experience of “Finding Nemo.” Complementing the visual excitement of the film, Rydstrom’s inventive catalogue of sounds adds to the sensation of being underwater. “This was a movie with no feet, no footsteps and no traditional foley,” says Rydstrom. “So one of the basic things we had to do was make a believable movement track for all the various fish, and give each of them their own character. One of my favorite sounds was the one we came up with for Nemo’s damaged fin. It has a little flutter almost like a wing flap. I created a very simple flapping sound with a paper towel. There’s almost a hummingbird quality to it. Marlin propels himself with tail flaps so he sounds a bit neurotic. For him, we basically used the sound of the fish character in the Pixar short “Knick Knack.” Dory makes more of a smooth cutting sound as she moves through the water. She’s just going through life having a good time. We tried every trick in the book to differentiate the main characters with sound. “For the sharks, I used a device where I could modulate real sounds with my voice,” continues Rydstrom. “I took real water sounds of various types and growled into a microphone so that my vocal characteristics would shape the river-gurgle sound or whatever we happened to be using. This gave a deep scary feeling to their water movement. If you listen carefully during the shark chase, the water sounds are saying ‘Nemo.’ It’s kind of my own subliminal Beatles trick. “One of the things we discovered early on was that things actually recorded underwater are boring, so we ended up manufacturing a lot of the sounds.We did go to a pet store with a lot of aquariums and stuck our mikes in the tanks and moved them through the water. For the fish tank in the film we wanted a contrast with the wide-open ocean. Occasionally, you hear weird, cheesy filter buzzes, goofy bubbles and things that happen in real aquariums.” Rydstrom recorded sounds in the ocean, in jacuzzis and even in a coastal cave to get the sound of water sloshing and crashing. The latter ended up being used to approximate the inside of a whale.The sound of Marlin and Dory bouncing on jellyfish proved to be a bit elusive. Rydstrom finally got the desired effect when he bounced his finger on a hot water bottle to get the nice little muted, watery “glug” sound he wanted. In a true example of suffering for one’s art, Rydstrom’s assistant, Dee, even recorded her own visit to the dentist. The brutal dental drill heard in “Finding Nemo” is actually Dee getting a filling done. According to John Lasseter,” Gary Rydstrom has done the sound design on every one of our films since ‘Luxo Jr.’ and he’s always taught me how the sound can help our films and help the worlds in our films to be more believable to the audience. And on ‘Finding Nemo,’ Gary has done some of his very best work. Water swishes can get repetitive, but he worked so hard to make it very special. He is a great collaborator and he always adds so much to our films.”
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"Rats With Wings"
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"Gill & Nemo"
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"Just Keep Swimming"
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"A Filmmakers´ Roundtable Working With Albert"
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FRANKENWEENIE Walt Disney Studios Motion Pictures' Animated comedy directed by Tim Burton starring Winona Ryder, Martin Short, Catherine O’Hara, Martin Landau.
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FINDING NEMO 3D In Disney/Pixar's hilarious underwater adventure "Finding Nemo," Father (right), a clownfish, travels all the way from the Great Barrier Reef to Sydney to find his son after the two are separated. Father is aided in his quest by Dory (left), a blue tang fish with no short-term memory. Written and directed by Academy Award®-nominee Andrew Stanton, and executive produced by two-time Academy Award®-winner John Lasseter, "Finding Nemo" will be released in 2003. Buena Vista International distributes.