The camera and animation teams then planned interactions to integrate stop-motion animation in a subsequent unit. Using animatics of storyboarded scenes with prerecorded dialogue, a small team of puppeteers staged interactions of animated characters on set using static stand-in models. Los Angeles’ Hancock Park neighborhood was a base of operations for preproduction and production. My main reference came from Terrence Malick’s The Tree of Life. “We wanted Marcel to feel like a real being, so we needed to create a world that felt very realistic - the most beautiful version of realistic. “The majority of films like this are often told through a child’s gaze, and that can lead to a look that makes the character feel more magical than realistic,” says Cline, whose cinematography credits include the documentaries Murder Among the Mormons and Belly of the Beast. Other key collaborators included animation director Kirsten Lapore, postproduction supervisor Jalal Jemison and visual-effects supervisor Zdravko “Zee” Stoitchkov. Leading the cinematography department were director of photography Bianca Cline, who captured principal photography on location in Los Angeles, and Eric Adkins, who supervised the stop-motion work. To make the film, Fleischer-Camp and Slate joined screenwriter Nick Paley and producer Elizabeth Holm to concoct a 90-minute story that largely retains the setting of Marcel’s world inside a California Craftsman house.
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