What about this? Hitting Hidden kitty paw? Oh
, you found it pointed it out. I found
it throughout the movie. There's like 500 hidden kitty
paws. 499 to go. Hi, I'm Joel
Crawford. The director put some boots the last wish
and I'm Harvey Gideon and I played Burrito and this
is notes on a scene. This is the first
time puss. Kitty and Preto are all in one
scene together right here. This is the dysfunctional trio
. That's the priority is, that's a true dog
. Right? That's what's on his mind found.
There's danger happening here. A lot of danger.
These shards of glass just didn't even notice the mist
puss. Yeah. And Puss landed really hard.
Right. Yeah. But kitties because as always soft
paws, this whole movie is about connections and it's
about especially puss in boots who's been living a life
of solitude. And what I love about Burrito is
that he just always wants friends just, there's just
so much his heart that's really good. I found
a sandwich in here. I think it's five angry
places when he slaps a sandwich out of Doritos hand
, there's what's called the character effects animators that do
the contact with to make it look like he's actually
pressing onto the bread later when, when there's breadcrumbs
that fly off. That's another department that did those
. And we were like, we need more bread
crumbs. It was a hard slap. And that's
the first time that we see him in his fashion
sense, which is this great sweater that he's wearing
, which I'm kind of matching with him today.
The conceit in this scene is that it's kind of
this badass action chase in the style of a fairytale
kind of painting. And the animation is a mix
of CG animation but also like hand drawn. All
these flaming arrows being shot through the air are like
hand drawn by an effects artist. Every curve of
the flame is paid close attention to and you can
really feel like how designed it is and it just
actually makes all the action that much more exciting.
I'm his best friend. We're always going, we're
making a comedy here but like what's underneath the comedy
? And like I said, this scene is about
connections that pushes rejecting. And so we build that
in where we tell the animators like be meaner to
him, really like push his face. And that
was like a note we gave to the animator.
Remember we were recording this and I remember you saying
like, oh the wagons moving like, so I
did one take and I was like, I'm pushing
his best friend, like just regular and it was
like, no, the wagons moving. So I
was like, oh, I, his best friend
keep moving. So I think for like an hour
I was just bouncing up and down and puts his
best friend, like over and over and over and
puts his best friend and his therapy dog. Definitely
not. Finally, you need therapy. Our writer
is brilliant at this Paul Fisher who layers in so
much for shadowing in the in the dialogue. Her
saying you need therapy. It's a joke here.
But plus does and he does receive it and it
helps him, does it all benefit from therapy.
There's a textural department that puts a surface onto this
kind of CG flame. And so it looks like
someone painted that usually in any kind of CG animated
movie. There's something called the motion blur, which
is very much the same in live action where if
the camera's moving, the characters moving to escape would
be blurred and Kitty's leaning forward and she would usually
be blurred, make it feel real. But because
we committed to go, this is a fairytale painting
style. We actually fought the computer a little bit
and said, don't do the motion blurs. Trust
me, trust you. Like I did in Santa
Coloma. Really, Santa Coloma. We wanted to
set up this Santa Coloma heist. When Kitty says
Santa Coloma that visually the whole screen lights up with
fire, that's what's in her heart like you did
something bad. Nothing is by accident. I'd say
that's, that's the same. Whether you're directing a
live action movie or an animated movie. Everything is
intentional. Every visual, every sound is saying something
to support the name that you're creating. Look at
this like I didn't notice this before but like we've
all seen a piece of wood that's been cut off
an awkward angle and look at that. Look at
the little details. Yes. And there's, the
modeling department builds every single aspect of it and I
love the shadowing and puts his hat. It's way
darker on this side. So this side of his
body is obviously darker because the light is coming from
his back lit. Right? I'm using Hollywood talk
back lighting. When there's a light behind your back
, there's something different about puss in boots, can
put my hand on something it's different. Ah,
yeah, he's got a beard. He has a
beard. Now. I started as a storyboard artist
many years ago in animation. And so I always
, just, my job was to draw quickly ideas
and as a director, I still draw and like
the co director and I, when we came up
with this idea of the beard were like, oh
, that's funny. He has like a shaggy beard
and like, I didn't know when you actually realize
that in animation it's really hard to do anything that
is touched by the character. They have to painstakingly
go frame by frame and find the interaction with the
beard. We'd get notes and go. Is there
any way they could cut the beard off and shave
him sooner? But the really cool thing is the
beard was more than just like a sight gag.
It was actually had meaning behind it. You know
, put some boots when he appeared on the big
screen in Shrek two was just this awesome larger than
life hero. And we need to take him from
hero to zero. And we basically said, how
can we make him lose his mojo? The beard
represents puss, always kind of hiding behind a facade
. Oh, did you see that? Most people
miss that? But he caught on fire. He
did. Burrito is on fire. I don't think
he knows he's too in the moment sometimes when I
catch on fire, I don't even know what's going
around and the importance of this. Like they're blowing
up. Exactly. They care more about this magic
map and in the background, pork burritos on fire
. And so like this scene is a really fun
one because it sets up their start point where they
don't care about each other, but it's comedically fun
to watch. Look at that Solomon, I pose
when we were recording the lines with Selma when we
were reading that, that he's, he's trying to
have everybody still celebrate him. She kept like,
like while we were reading the lines, she was
like rolling her eyes in character and the animators totally
used that, that kind of reference those kind of
things. They, when you're watching this, like
all the characters feel real, we're making an animated
movie. But the characters are cartoons that they're all
grounded, they're all real. And when you find
that specificity in that detail, it basically kind of
snowballs where every department who's creating this movie after leaves
your voice, they just find these nuances. I
noticed this recently, but this is really cool and
you can tell me this is true. This is
a little bit foreshadowing of the eyes of the wolf
dude. Nothing gets by you. Nothing when cameras
are on me. What I love is that that's
for shadowing of what's to come a few frames later
. Puss, here's this whistle, this terrifying bounty
hunter shows up and he has this ominous whistle.
And like for us, we kind of always saw
this movie as like it has one boot dipped in
the Shrek fairy tale world and another one dipped in
like the spaghetti Western world introducing kind of like that
bounty hunter and death if you will. It's kind
of a huge step because it's inevitable. You'd be
able to talk about those things and watching the film
. You like I was terrified and I was like
, this is terrifying, but he does it.
So with like a swat nous to I guess I
kind of want to be traced by wolf because like
, he's so cool and it's just that whistle is
kind of cool. We realize we're making a comedy
and it's so fun to see these characters on the
screen. But this movie is about puss being oblivious
to mortality. And this wolf is the one that
strikes fear into him, which actually causes him to
stop and appreciate and be vulnerable and like open himself
up to connections. We needed dark moments. The
wolf puts coins on his eyes and points and that
was a nod to Sharon's Opal, the mythology of
the, you put coins on the eyes of the
dead for the ferryman to take them over to the
underworld. And it was like there's more to this
bounty hunter he might be actually has. Yeah.
So the production designer, Nate Wragg came up with
this kind of concept that this movie because it's,
it's in the Shrek fairy tale world feels like a
fairy tale. What if we just visually make the
movie look like it's a painting when the first Shrek
came out like over 20 years ago and computer animation
was new. Everybody's like, wow, you can
see the hairs on their arm and they almost look
real. Everybody's chasing photo realism. But we realized
that we can do anything with animation. Why we're
trying to make stuff look like real life. Let's
bring the audience into a fantasy world. It was
a really cool kind of process where because this fairytale
look hadn't been done before. We were finding it
as we were going and it just looks way more
beautiful than I could have ever pictured.