Educational Animated Adventure Films That Ignite The Spirit Of Adventure And Curiosity – Opening in theaters on June 4, director Elaine Bogan and DreamWorks Animation’s next entry in the film and television franchise uses CG to beautifully capture the unique beauty of the American frontier and the emotional connection between of a female head and a wild horse.
It was a familiar sight—a boar-colored stallion, black mane blowing in the wind, crossing the western border with his herd, the horizon behind him singing of snow-capped mountains. , claws shaking and hearts beating. in a
Educational Animated Adventure Films That Ignite The Spirit Of Adventure And Curiosity
Movie universe. This time brought to life in CG, DreamWorks Animation’s new feature captures the “spirit” of Cimarron, featuring deep, rust-red canyons, wide green valleys and dazzling sunsets.
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The film’s late director, Kelly Asbury, sadly passed away last summer. “We felt it was only right to honor and dedicate it to someone who gave so much to create the world we work in,” said Elaine Bogan.
Ennio Torresan. “That’s important to us. We all love Kelly, and a big part of our goal is to create a familiar story that feels like hers.
World, but it is also new and refreshing to the audience – both viewers who love the existing character and new viewers. “
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Taking a deeper, emotional dive into the main character, Happy (Isabella Merced), who moved to the fictional border town of Miradero with her father (Jake Gyllenhaal), whom she did not see as a child. ; . Although Lucky has never ridden a horse in his life, the town is talking about Lucky’s family legacy, as his mother is a famous horse racing executive. And when Lucky comes face to face with an unstoppable wild horse he calls “Spirit,” he begins to feel something fluttering in his heart.
“It’s an unusual film, but the setting and cast of characters are very affecting
, and the horse in this film is said to be the next generation of the Spirit breed,” explained Bogan, who is best known for his work as a director.
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. “We wanted to make a cinematic leap of emotion and drama in family relationships, the theme of who you are, and a big, captivating adventure with a very exciting scene for the big screen .”
While Asbury’s original 2D film is known for its passionate leap into a sensitive and mature story, the film’s aesthetic is also one of the most recognizable in DreamWorks film history, and
“We wanted the environment of this film to speak to a global audience,” Bogan explained. “My production designer, Paul Duncan, and I first started looking at each other’s vacation photos from national parks across America, Europe, and Britain. He’s from Ireland, so there’s a lot European influence in his designs.”
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He continues, “Our goal is to create this environment that feels like it could be on the doorstep of any audience member, and that adventure immediately awaits them. The environment speaks to different audiences- well so that they feel that their own adventure is possible.”
The landscape of the 19th century American frontier, from dusty deserts, rolling mountains, and flower fields to salt flats, beaches, and misty forests, gives the film a variety and breadth of feeling. Bogan says, “We approach a lot of things that way, like the character designs, the costume designs…
Bogan noted that the project was unique to him in how much animation was used to depict the unspoken connection between the characters. While Matt Damon’s voice conveys the thoughts and feelings of the Ghost in the first film, there is no such thing as unheard support
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, and for the team, according to Bogan, it was a recognition of the true power of animation.
“I think the story between Joy and Spirit has been very visual, and this film has more non-dialogue scenes between the two main characters than any other project I’ve worked on,” shared Bogan. “That was definitely one of the biggest challenges, especially when I was writing the script because I didn’t have the words to express the emotional and physical journey Spirit went through. The only way to express that was through his language. in his body and his words.”
The director used his experience as a longtime jockey to evoke the Spirit’s sudden facial changes and hoof steps, as well as eye shifts, turns, and other body movements. “My life with horses influenced many parts of this story,” says Bogan. “My horse Ziggy was an inspiration for the character by making this movie, and I took from my relationship with him to think about how horses move and live, how they interact to each other and to people. Also, how playful and playful they are.”
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He added: “It’s fun to inject small doses of truth when you’re attached to a horse, like having a horse spit in your face. It happens to Ziggy and me on a regular basis.”
But Bogan says the biggest support of the animation is Spirit’s reaction to Luckin, especially the quiet moments, the often warm western sunrises and sunsets between the two characters, as well as the camerawork. in a little dance of trust. – outside of the city or mountain barn. “Footprints are a big recurring visual theme in our film,” Bogan explains. “Happy learning is, ‘If I move forward too fast, he will take a step,’ or ‘If I move forward, it will be more comfortable for him.’ so.”
Despite taking on the role of a film director for the first time, Bogan seemed excited to get on the 1,200-pound beast and ask for a ride, which he also said was a great achievement. “A lot of this movie is about Lucky going through this journey and learning to communicate with someone else who doesn’t speak, and that’s the magic of animation for me,” he said. “It is able to tell a visual story that does not require dialogue or speech, it is to understand what the characters are thinking with simple movement, a tail flick, a head nod, or the use of the visuals.”
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Igniting the spirit of adventure in the audience, whether they are adults who have watched this magical, wild world since childhood, or children who are experiencing it for the first time. He felt that after last year’s horseback riding trip he spent a lot of time alone. “It’s coming out at a time when it’s going to attract a lot of people who have been holed up in their rooms for a long time and want to get out of it,” he said. “I hope this film offers a little redemption and gives young viewers the chance to find the courage to be who you are and use your true voice and rely on the support of friends and family around you to achieve what you thought was impossible. .”
Victoria Davies is a full-time, freelance journalist and part-time Otaku, dedicated to all things anime. He reports on a wide range of stories from activist news to entertainment. Find out more about her work at victoriadavisdepiction.com.
Next Post Creative Career Coach: Spring Clean Up Your Portfolio and next post “Eden” marries 2D and 3D in a powerful portrait of parental love that centers on a boy and his journey into a magical world of Megaloceros Gigantei, showing Riverdance and the perils of the Huntsman.
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Towards the end, viewers will see Keegan master Megaloceros Gigantei and learn about life from their boss, Patrick. He asks Keegan and Benny to join the others in a game of throwing. At first Keegan refuses, but Patrick tells him to play for his grandmother.
Keegan surrendered and won the game for his team. Penny then wants to find the ball as she prepares to perform for the others. When Keegan finds the ball, he stumbles into a mysterious cave. Curiosity led him to that cave and he saw magical writings or decorations on the walls of the cave.
Huntsman thanks Keegan for not lighting the beacon, allowing him to hunt the ants. He offered the young man to join his side and meet his grandmother, but he refused. Soon the Huntsman disappeared into thin air.
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