00:15Sì, è vero che fanno davvero incredibile in questo film, voglio sapere come hai trovato
00:24che si sembra così bellissimo e così bambino?
00:31For me è molto tecnico, ho bisogno di trovare il corso giusto per gli occhi, abbiamo trovato un tono di
00:37rosso,
00:39abbiamo bisogno di assicurare che si sembrava diverso da gli altri, quindi abbiamo messo gli occhi,
00:43non, non è vero, non è vero, non è vero, non è vero, non è vero, non è vero, non
00:45è vero, non è vero, non è vero, non è vero.
00:46Anyway, the eyes look different than the ones from the other wolves, that was one of our goals.
00:56The other thing is, when he's tiny, we made the eyes slightly bigger to make him a little bit cuter
01:00and everything,
01:02and we also did a little trip to a wolf park to see wolves, how they react, how they interact
01:09with each other,
01:09and we managed to take pictures of these wolves and then like see how they work, how their eyes work,
01:16because that's what they always tell you, that the eyes are the windows to the soul,
01:20so the eyes are the one thing that people are going to be looking at and you have to make
01:24them right,
01:25also because they're animals, they don't speak, so a lot of the communication goes through the eyes,
01:30so I guess I also had like a team of very talented animators that managed to get the eye motion
01:35right and
01:36everything, so that's probably the secret to just work with talented people and inspire yourself in
01:41the right places. You said that you love Italian spaghetti western and horror movies,
01:47so I'm curious in which way this kind of movie influence your movie?
01:54Yeah, like I said, you don't want to put too much of, say, Italian horror movies into a kid's movie,
02:02but there's like always like bits and pieces, like I said, I'm a big fan of the way how people
02:08like Mario
02:09Bava lit their films, they were always very expressionistic lightings and I just found that
02:14one scene in my film that really required that type of lighting and I went back to some of his
02:19films
02:19that I looked at and I was like, okay, this is what I want. For example, the Sergio Leone film,
02:25I will just take a certain framing, just be close to on the eyes, like the typical thing.
02:31I also watched a film called Il Grande Silenzio from Sergio Corbucci, which is a western that plays
02:37in the snow, which doesn't happen too often and we had a western that plays. For me, White Fang was
02:43always a western, I envisioned it as a western, so I went back and I looked at the westerns that
02:48play in
02:48the snow and this was one of them and obviously Il Grande Silenzio is a very violent film which has
02:53no
02:54happy ending for those who have seen it, but there were bits and pieces that I could take. It has
02:59actors like Klaus Kinski, who has like this ugly face that I could use certain things to put on
03:04Beauty Smith and so on and so on. So yeah, these are the influence, but you will not notice if
03:10you
03:10don't know that, so I guess it's very subtle. You said that you want to do a movie based on
03:16Lovecraft books,
03:18so are you ready to fight against Guillermo del Toro because it was his project? Oh yeah,
03:23but his project is like at the Mount of Madness, which is I guess also something that looks like
03:31it's going to cost a lot of money, but H.P. Lovecraft has written adventure stories that are huge and
03:36others that are more intimate, so the idea would go for something that is more intimate and that costs
03:40less money, but yeah, so we'll see. Thank you so much. Thank you.
04:12Thank you.
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