00:00...che il linguaggio di camera...
00:02...il fatto che si chiede in un set molto sofisticato...
00:04...v'le nostre professioni professioni...
00:06...v'le chiamato come in...
00:08...v'le chiamato super exagerato...
00:10...e tutti gli effetti artisti...
00:12...di subito in un'imilio.
00:14...
00:15...d'accio!
00:16...d'accio!
00:20...d'accio!
00:21...d'accio!
00:22...d'accio!
00:23...d'accio!
00:28...d'accio!
00:29...d'accio!
00:30Egli ma
00:30...d'accio?
00:31...id'accio!
00:32...d'accio!
00:42...a toch?"
00:43...
00:43... AggТак
00:43...
00:44...la
00:44...
00:46...
00:47...
00:47...
00:47...or the beach.
00:49You want the animator's heart to be pumping
00:51and to really realize the energy that would be involved in that moment.
00:54And if you can do that, then you can start to bring that stuff to screen.
00:58We'll take the video footage into editorial and cut it together and see how it's playing,
01:03come back if we need more information,
01:04or take it into production if we feel like we've got the ideas we need.
01:07The way that sequence ended up is then a testament to all the people that came along
01:12and tried to help take it to a finished product.
01:14Whether it's going in with the actors and invent new dialogue or try new things,
01:19or take the dialogue that we have and just bring it alive with the great performance.
01:24You feel like you've been in this plane crash with these guys,
01:26and it's driven by these great, solid, comedic action concepts
01:30that were part of the genesis of the idea in Tom's thumbnail sketches.
01:34Everyone kind of just loved to jump on this and made it feel like you're in a comic plane crash.
01:40Oh my God!
01:41But actually a blingy ball.
01:43Don't kick me.
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