Director Chris Sanders gives us an inside look at the animated movie.
This article appears in the new issue ofDEN OF GEEK magazine.
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Someone pushed a button, Sanders recalls, and one of them started to move.
And the camera started pushing through it.
What Sanders had taken for a painting was actually a finished scene of the movie.
Lacking human masters to serve, she sets about looking after the wildlife of the island.
So we needed the biggest contrast we could get, meaning a forest that looks organic.
Weve finally gone back to those analog painted environments.
The first thing we do is the voices.
The voice is recorded before anything moves, Sanders explains.
The most important of those voices is, of course, Lupita Nyongos.
Lupita worked harder than anyone else to create the voice of the robot.
My only real direction [to modeling supervisor Hyun Huh] was I insisted she not have a mouth.
The robot, as illustrated by Brown, is both vague and specific, Sanders points out.
She has a very humanoid silhouette because Peter wants Rozzum robots to be humanoid.
They operate in human places doing human jobs.
In addition to voices,The Wild Robotalso tells a great deal of its story through music.
The composer for this project was Kris Bowers, whose work covers everything fromBridgertonandSecret InvasiontoGreen BookandThe Color Purple.
I didnt want something a character was doing to interrupt his music.
Imagine a live-action set, take every one of those disciplines and just separate them, he explains.
We move the camera first.
But the film doesnt exist until all these disparate components are combined.
The Wild Robot is out in US theaters on Sept. 27 and UK and Irish cinemas from Oct.18.
