Future Film Festival: I Corti Pixar (Mymovies.It)

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Future Film Festival: I Corti Pixar (Mymovies.It) giovedì 29 gennaio 2009 AL FUTURE FILM FESTIVAL LA PIXAR PORTA IN ESCLUSIVA I DIETRO LE QUINTE DEI SUOI ULTIMI CORTI. Future Film Festival: i corti Pixar di Gabriele Niola - www.mymovies.it Dopo Wall-e, Burn-e È un'unità di riparazione e saldatura delle componenti della grande astronave che in 'Wall-e' tiene in orbita la razza umana il protagonista del nuovo corto Pixar. Si chiama 'Burn-e' e sarà negli extra del DVD del 'film' di Andrew Stanton in uscita l'11 Febbraio. Il Future Film Festival di Bologna ne ha però offerto un'anteprima durante la quale Doug Sweetland, animatore della compagnia fin da Toy Story e regista di Presto (il corto che in sala precedeva 'Wall-e'), ha raccontato il making of sia della sua opera che di 'Burn-e' (che è però diretto da Angus MacLane). Si tratta della prima volta che un corto Pixar riprende l'ambientazione di un lungometraggio per raccontare un'altra storia che si è svolta parallelamente a quella principale. 'Burn-e' è in sostanza uno spin-off di 'Wall-e' che mostra cosa succede al robottino saldatore durante lo svolgersi della trama del film, riuscendo in molti punti a far intervenire gli eventi della storia "lunga" in quelli di quella "corta". Lo stile è sempre quello, la fima della Pixar: un misto di cattiveria, gag fisiche e disperati tentativi di portare a termine un compito. Però rispetto agli altri corti pensati per i DVD dei lungometraggi dello studio di John Lasseter stavolta si tratta di un prodotto all'altezza del marchio che porta. Il primo spin-off della Pixar Alla Pixar fanno le cose per tempo e i corti non fanno eccezione. 'Burn-e' ha richiesto 7 mesi a partire dall'approvazione della storia per essere completato: da novembre 2007 a giugno 2008. Sette mesi che sono serviti ad Angus MacLane per realizzare materialmente quel progetto che, come racconta l'amico e collaboratore Doug Sweetland, ha insistentemente proposto ad Andrew Stanton fin dalla lavorazione di Wall-e. MacLane infatti è stato il capo animatore per 'Wall-e', una figura che è la più vicina in assoluto al regista e dunque una delle poche che hanno sotto controllo tutto il progetto. Da quella posizione privilegiata MacLane ha cominciato a chiedersi cosa succeda ai tanti piccoli robot dell'astronave che nel film vediamo a volte anche solo per pochi secondi. In particolare il piccolo saldatore aveva attirato talmente la sua attenzione da fargli balzare in mente da subito una piccola storia. Ma il momento non era quello giusto, la produzione di un lungometraggio è un processo talmente immersivo che lo stesso Andrew Stanton non ha voluto sentire parlare di altre idee prima della fine della fase di animazione di 'Wall-e'. Caso quasi unico nella storia dei corti Pixar quando è stato il momento di sottoporre la bozza di 'Burn-e' al "gran consiglio" Pixar che deve approvare qualsiasi cosa la prima versione è piaciuta subito. La storia aveva un che di avvincente e poi piaceva che si trattasse di uno spin-off di un lungometraggio. Infatti gli unici consigli che furono dati a MacLane sia da Lasseter che da Stanton riguardavano tutti come ottimizzare il ritmo delle gag. E il ritmo, questo è sicuro, è veramente di prim'ordine. Dietro le quinte di Presto Non esiste un processo lineare nel fare una storia, è una ricerca che procede per tentativi ed errori" è questo il più grande insegnamento che Doug Sweetland, per anni animatore della Pixar, ha imparato quando è passato alla regia, nel momento cioè in cui si è dovuto occupare non solo del disegno ma anche di come raccontare una storia. Il racconto della lunga lavorazione a 'Presto', spiega molto bene il modo con cui si procede in Pixar e, in un certo senso, il segreto dei loro innumerevoli successi. Racconta Sweetland che animare significa avere dei punti fermi e muoversi intorno a quelli verso un obiettivo. Magari si deve fare saltare in avanti un personaggio ma non si dovranno toccare i suoi vestiti, la sua espressione, ciò che tiene in mano ecc. ecc. lo si dovrà solo far saltare in avanti. E così lui si era avvicinato alla scrittura di 'Presto': con idee ben chiare attorno alle quali impiantare la trama. Inizialmente infatti la storia di 'Presto' era ben diversa da quella finale, racconta Sweetland: "un mago simpatico è abbandonato dal suo coniglio e ne prende uno dalla strada che era lì solo per avere un autografo. Il nuovo coniglio non è pratico, ha paura del palcoscenico e rovina tutto lo spettacolo. Il coniglio però poi si vergogna e per rimediare va sul palco e cerca di tirare fuori il mago dal cappello per salvare la situazione. Il mago lo vuole fermare e così peggiora la situazione. Alla fine però il coniglio lo salva proprio tirandolo fuori. Il mago perdona il coniglio e diventano una coppia". Il processo di cambiamento della storia è stato dovuto ai continui "No" che Sweetland incassava dal gran consiglio. Il progetto era continuamente rimandato indietro senza particolare critiche o richieste. La storia non convinceva e non divertiva fino a che non la si è semplificata al massimo, organizzando tutto intorno ad una carota e al botta e risposta tra due personaggi. Botta e risposta che non avviene a parole ma attraverso le gag. Una soluzione che nonostante la sua semplicità non poteva arrivare subito nè poteva essere subito suggerita dal gran consiglio secondo Sweetland: "Facciamo così tante volte le stesse cose perchè le soluzioni non hanno un valore in sè ma devono rientrare in un preciso contesto. Rifai tutto tante volte per trovare quella combinazione magica che dia senso al tutto". E forse in questa ricerca della soluzione magica che sarà approvata da un consiglio compostocopyright© non da produttori 2000 - 2021 MYmovies.it®ma da registi - [email protected] sta il segreto della Pixar..
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