00:00Immerse yourself in the fantastic world of Shark Tale.
00:05Good morning, Southside Reef. I'm Katie Courant, keeping it current.
00:10Shark Tale takes place in a contemporary underwater metropolis where the sharks run the reef and the fish shell out the clams.
00:17Bring my 5,000 clams and please strike tomorrow or else.
00:20That's fine.
00:21The boys will explain.
00:22It's very much a play on genre of film and the way that Shrek sort of sets up fairy tales.
00:28This sort of takes to the classic mob genre and turns it upside down and inside out.
00:34Bada bing, bada bull, pops happy, you're a shark, life goes on.
00:37A fish.
00:38I was drawn to work on Shark Tale by kind of both the comedic possibilities of the movie and the heart of the movie.
00:46I thought it would be really fun to work on a story that was an urban story but merged with classic backdrop of the mob genre.
00:53It just seemed like a lot of fun to do all of that under the scene.
00:57Hi, I'm Oscar.
00:59You might think you know, but you had no idea.
01:06We spent a lot of time at the beginning trying to imagine what a unique underwater fantasy world would look like.
01:13We wanted to have icons that were recognizable from the everyday human world and make it all fish-ified.
01:20I brought you somewhere else.
01:25Alright.
01:26Double greens.
01:27Your favorite.
01:28We knew that we were going to have to create a fantastic city underwater that was first recognizable as a city.
01:34One of the biggest challenges right off the bat was what is this world going to look like?
01:37Because it's a fantasy world.
01:38There's kind of two looks to the film, which was really difficult to try to combine.
01:43There's the mob world, and then there's the hip-hop world.
01:46So that was really tough because the mob world has a very muted tone to it.
01:50It's got deep bahagies.
01:51It's got a bunch of browns.
01:52It's got black and white, which the sharks have left themselves completely to this world.
01:57I got some.
01:58Oh shit.
01:59Damn!
02:00We have a stalk over here.
02:01We've got hip-hop neighborhood, which we need to relate to the coral world.
02:06You see, it was much more colorful, much more primary colors, much more fun, playful,
02:13a lot more vibrant.
02:16Slight congestion here on the InterReef 95.
02:18There's an overturned macro.
02:19Authorities are trying to calm him down.
02:20here on the Interreef 9 to 5, there's an overturned mackerel. Authorities are trying to calm him down.
02:24The biggest challenge was how to create an underwater book. They didn't have bricks or cement, they had coral, they had seaweed.
02:32And so, at first blush, you look at the screen and say, oh, that's Times Square.
02:37The traffic scene in the middle of Times Square is a real easy way to see how we were fishing by something familiar.
02:45You can imagine if you're in Times Square, and it's a busy lunch hour, and there's cabs everywhere.
02:51Don't you yell and think my mother is your mother, okay?
02:55We have accomplished a very neat look at the American film, something that we haven't seen before.
03:00We're taking ideas of the undersea, and instead of trying to make it just natural, thinking we already amped it up,
03:06and really sort of forward exaggerating it, it makes me feel very artistic, so no.
03:11Come talk to them!
03:12I'm probably trying to play this in the case, you know, because it's a symbol for a way of approaching your work.
03:17I suppose each animated film has its own color and texture to it, but this one has something very vibrant about it.
03:23And it doesn't mean the water and everything else that moves, and so it's beautiful.
03:28This gives me every little thing that they've thought of, to change everything to fish and fish references,
03:33I think they must be going insane.
03:35But it's working on this.
03:36No!
03:37No!
03:38No!
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03:56No!
03:57No!
03:58No!
03:59No!
04:01No!
04:16I think they went on the board with a potbelly, and I'm going to have a straight talk to the artist's team about trimming that down.
04:25Ta-da! Sebastian, the way you'll wash your dolphin!
04:32Nice.
04:33When you're looking at our vision, you can look closely, and then remember what Mark Scorsese looks like, or Will Smith, or Angelina Jolie.
04:39You'll see their facial qualities, and they're real suddenly.
04:43I didn't know what I was going to say.
04:44When I first was asked to do this or to come in and meet, I kind of sat in the room, and I remember it was explaining the story and how exciting the story was.
04:52There were pictures of a little fish, and there was one who had very pointy eyebrows, and kind of looked a little wicked, mid-sparkly and red.
05:03I got lucky. I can't see her. I like her.
05:06Mr. Glyphson, double F square, right to the down twist.
05:09Double square!
05:10I am burning a very successful and new account of where they turned out.
05:16They were the hardest characters to do to make, like, deep, bright, too, and appealing.
05:20Well, we're all creeping out, we actually are.
05:23I love every guy, I just want to meet another.
05:28From Oscar to Jennifer, all of them.
05:32It's half the fun of this movie, is that with a cast like this, we really enjoy bringing their faces into the movie.
05:38We just have a way of bringing the character, the actor's personality, into a character, but it was really fun that our designs actually help support that.
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