![]() ![]() The project pipeline for achieving this look and style was not simple to define. Both of them had always admired classic 2D animation, and liked creating projects enhanced with dense, fine details drawn or painted over the characters and environments, and an artist’s finish, similar to living paintings. Recognising that pleasing modern audiences would require adopting an essentially 3D approach to these animations, creating a 2D-inspired style was nevertheless very attractive to Javier and Adrian. Important references the director Juan Antonio Bayona chose for the production were ‘The Tale of the Three Brothers’ animation from Harry Potter, and various classic, old-time 2D animated films. This stylistic addition to the storytelling was quite successful for them. We start with a basically 2D watercolour look and progress to a more truly 3D appearance and process, as the story and reality draw closer together in Conor’s imagination.” In the end, achieving that proved impractical, but we did achieve a progressive style that evolves from the beginning of the first tale to the end of the second one. In fact, early on Adrian was interested in setting up a style that would show the scenes being drawn onto the screen, as if Conor and his mother are still creating them. Javier said, “Defining the style, both in terms of a look and as a production technique, was tricky. New versions of the animatics appeared regularly. Although Headless Productions had created storyboards, defined major themes and assembled various background materials, the project had yet to get underway when Adrian and Javier started collaborating.įrom that time forward, the whole project remained organic and continued to develop and evolve right until the last stages. The creative direction came from another Spanish company, Headless Productions, also in Barcelona, whose animation director Adrian Garcia had worked with Glasswork’s head of 3D and leader of this project, Javier Verdugo, on earlier projects. Glassworks created the animations from scratch. To varying degrees, depending on what is happening, they also mix reality with fantasy, producing a fascinating convergence that reveals his true thoughts. In the novel that the film is based on, the tales are essential to understanding the conflicts Conor experiences, and therefore the animations are also designed as a core part of the film. The animations are based on fantastic tales the young protagonist Conor O’Malley invents and illustrates, while his own real-life drama unfolds around him. Glassworks in Barcelona created two beautiful animations telling powerful stories-inside-a-story to support the film ‘A Monster Calls’. Glassworks Tells the Monster’s Tales in ‘A Monster Calls’ ![]()
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