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00:00What year was this? Mike Narocki?
00:04Hello, I think this was 98? 99.
00:0899 something? No, 2000 wasn't it? 99, 2000?
00:12Maybe 2000. We don't know when it was. Let's check the box. We'll check the box
00:16later. This is Phil Fisher. This is Mike Narocki. We're watching
00:20Esther. Yeah, and the idea. The girl that would be a
00:24vegetable we think. This is
00:28kind of Godfather-esque. We just sort of took the
00:32story of Esther and wondered what would happen if we told it in kind of
00:36a Mafia Godfather style. Yeah, whose idea was that? That was my idea.
00:40Ooh, that's a good one. Thank you very much. That's our friend Christy Bramlett
00:44who's doing the voice of Vashti right there.
00:48Yeah, and it's amazing how those curlers were lined up so perfectly. You could see right
00:52through them. Right through them, exactly. That's astonishing. That was a little violent.
00:56Had a little. And then there was a version here where he was going to
01:00hit her right in the head. Oh yeah, it was funny. The animator thought it would be
01:04funny to whack her in the head with a suitcase. That's funny
01:08alright. We did version number two. Yeah, maybe we should rethink that.
01:12I liked this scene. I thought it was sublime.
01:16Yeah, with that backlighting and everything. Yeah, the dry
01:20Mafia sandwich at the end. That was nice. So why Esther?
01:24Why did we do Esther? We wanted to do a story about
01:28I'm interviewing you because I wasn't all that involved
01:32so I can't really act like I'm the co-director. So I'm the interviewer.
01:36Okay, well we wanted to do a story about a female character in the Bible.
01:40I could pretend this is an interview for the BBC. I could interview you with an accent.
01:44What's this with Esther? Why did you choose Esther? Use the Queen's
01:48English for BBC please. Sorry.
01:52It was either Ruth or Esther. Those are the ones that we
01:56Wait, wait. Isn't that pretty? Isn't that nice? Joseph Poolidge did the art direction
02:00and a lot of the background paintings here.
02:04That's very nice. But anyway, yeah Ruth
02:08Yeah, Kurt did the score. And I helped. And you helped. And you helped some too, I remember.
02:12Well, what I did is I picked a lot of the rough score out.
02:16When we went in and we did rough score for that, that was one of the
02:20lonely trumpet solo from the Godfather. We plugged in there
02:24as rough score. So I remember wrote his own theme around that.
02:28So why Esther? Well, female character from the Bible. Female hero.
02:32And it was just so dramatic. I mean it was like a perfect
02:36I mean the story of Esther in the Bible is like a perfect screenplay.
02:40Just in terms of the hero character, how it develops
02:44the action, the suspense, the mystery. And so we just thought it would be
02:48a really good lesson in courage.
02:52So that's why we picked it. Is that why? That's why we picked Esther.
02:56That's sound logic. It was also stylistically somewhat
03:00inspired by Casablanca. That's right. Because we were looking for
03:04what happens when you cross a Bible story with
03:08the Godfather and decided it was Casablanca.
03:12And it would have to happen in North Africa. Yeah, we think so.
03:16Okay, so tell me about the design process behind Esther.
03:20Now we were getting criticism at the time
03:24correct that we didn't have any female role models among the vegetables.
03:28Which is, you know, if you're familiar with the work of say
03:32Jim Henson or you know
03:36a lot of people actually when you get a bunch of guys together
03:40to tell stories they tend not to write female parts
03:44very well. Yeah, yeah. Well we have Laura the Carrot, Jim Henson
03:48had Miss Piggy. Although Miss Piggy was a bit stronger.
03:52Yeah, Miss Piggy also came along in like year 10. For the first 10 years
03:56the only girl was Prairie Dawn. She was not a very
04:00strong role model. So we had kind of the same problem
04:04because Mike hadn't found his inner Miss Piggy like Frank Oz
04:08had for the benefit of Jim Henson. And I'm playing Jim Henson
04:12in this analogy. Mike would be playing Frank Oz.
04:16So we needed a strong female lead.
04:20That's right. And Esther was that. But you know
04:24in the Bible it says that Esther was a very beautiful young girl
04:28and so we had to come up with a vegetable character
04:32that actually looked pretty. Implied beauty.
04:36Yeah, which Madame Blueberry never quite did.
04:40We thought she was a role model until we watched the film.
04:44So to be beautiful you have to have
04:48an annoying piece of hair hanging in front of your face. Yes, which is what we learned from
04:52The Little Mermaid. That's right.
04:56Now Esther's hair was the bane of this production because
05:00it just caused so many problems technically.
05:04The way that our software was, that was supposed to happen
05:08very automatically. When she moved her hair would flow along with her.
05:12That's what they tell you when you buy a computer animation system.
05:16Everything will happen automatically. Just push the button. Boy are they wrong.
05:20Oh yeah, they're so wrong. And so we had a lot of people
05:24tearing out their hair over Esther's hair.
05:28I was tearing out my hair over her eyes. Do you remember that?
05:32Oh yeah, yeah. The first version of Esther
05:36there were no whites in her eyes. It was all brown and she looked like
05:40a frog. Or a dog. Or a dog. A frog dog. A frog with dog eyes.
05:44Yeah, we had to go back and add a little white in there.
05:48That's hideous. She's amphibious.
05:52She's hideous. She's amphibious.
05:56You gotta put the whites in their eyes.
06:00We know that about beauty. We learned a lot about beauty in this.
06:04I noticed you started looking more attractive about the same time.
06:08I whitened my eyes, but I didn't get them whiter than my teeth.
06:12Because even dogs have whites in their eyes if they look far enough to the side.
06:16Yeah, if there's a biscuit over at the side and they're kind of lazy.
06:20They just want to look over at that biscuit and see the whites.
06:24But Esther, she had no whites. She was an amphibian, I'm telling you.
06:28With hair. And it was freaky. We did freak out a few people with Esther.
06:32It made me kind of upset about Esther. We spent all this time on her hair and getting her to look pretty.
06:36And then we got comments about her annoying hair.
06:40It's funny.
06:44This is perhaps the film that got the most
06:48immediate negative feedback.
06:52And yet it continues to sell really well.
06:56I've had a lot of people tell me that it's their favorite too.
07:00I guess it just depends on your personality and everything.
07:04I wrote the songs. Not all the songs.
07:08You wrote the puppy love song.
07:12And I wrote the Taemin song. They're Those Who Can't Be Trusted.
07:16Oh, that's right. I forgot about that one.
07:20Thank you. I wrote this one. But it was too Disney, some people said.
07:24We got letters saying, I don't like this episode because it's just like a Disney movie.
07:28And we got other letters that said, this is my favorite one because it's just like a Disney movie.
07:32So what we learned is, you can't please all the people
07:36all the time. That's right. Oh wait, here comes puppy.
07:40Oh yeah, here's puppy. Now this is funny. This is Char Jackson
07:44singing this. She used to work at Big Idea.
07:48And the great thing about this is she also played the accordion, which I had no idea
07:52when I cast her for this part. Because we actually had
07:56auditions for a bunch of people that worked at Big Idea.
08:00And she was
08:04the best, Miss Agnita. Yeah, she sure was. Because of that scream that she
08:08has. And so I picked her. And then when we got into the booth, she brought an
08:12accordion with her. I found out that she actually played an accordion. So we recorded her singing
08:16What's that cannonball in the foreground? Oh, that's actually
08:20a light. It's a stage light. It's a bit heavily textured. I say that every time.
08:24When I say heavily textured, let's talk about Esther and textures. This whole
08:28show is very heavily textured. Yeah, we learned a lot about texturing
08:32in this show too. Because early VeggieTales had very little texturing.
08:36And we were trying to raise the bar and be all Pixar-y.
08:40And boy did they lay the textures on a little thick on this one.
08:44Yeah, well we were textury without being enough anti-alias-y. And so we got a lot of
08:48swimming around. Crawling textures.
08:52Back to Miss Acmetha. That wasn't the whole song there. We had to cut it down.
08:56Because the show is like 90 minutes long by the time we got all the dialogue
09:00recorded. But the full song plays under the credits, I believe.
09:04It's on the sing-along.
09:08The pretty eyes because of the light.
09:12And we named her Miss Acmetha. Obviously Esther is Miss Babylon.
09:16Miss Acmetha was also named after a town
09:20in Babylonia, I think. What town?
09:24Acmetha. Really? Wow.
09:28Now Babylon, that's in modern-day Iraq. Is it not?
09:32Is there a political undercurrent? Not in 1998
09:36there wasn't. Are you taking a position on
09:40the conflict? Nope, nope. It's just all there in black and white
09:44in the Bible. That's great.
09:48This is quite a camera shot. Yeah, this took a long time to render.
09:52There's a little bit of swimming in the textures in the back.
09:56This is also the first shot that we, when we were preparing for Jonah, we re-rendered this
10:00at film res. Oh yeah. And we're using it as a test
10:04to see if we could pull off clean film res rendering.
10:08See, they put their thumbs up, but they don't have thumbs.
10:12They had to eat cards. That's fun. Levitating cards, of course, because they don't have
10:16arms to hold their cards up. Yep, yep. Whose idea was it to give him the
10:20slicked-down hair look in this one, mister, and I can't tell you what his name is because he doesn't have a name.
10:24He's Wise Man Number One. Wise Man Number One. Well, he had, this
10:28was after King George and the Ducky, which we did, the wise man who went up the hill and came down
10:32with all the bananas. Oh really? Did he have his hair slicked down? Yeah, he had his hair, kind of the Hugh Grant look.
10:36Oh, cool. Wait a minute, what's going on with her crown there? Oh yeah, this is, see we got
10:40a lot of money for this one. Yeah, boy.
10:44When I was in charge, when I used to direct,
10:48I would make sure that the levitating props were very
10:52close, and I didn't get any letters. See, now we
10:56established a rule after this. There was a rule established after Esther that
11:00the profile of a prop and a character always had to intersect
11:04somehow, because otherwise it looks like it's floating too much. Because we've floated
11:08things for years. That could be conjectured as magical, like Harry Potter.
11:12Yeah, oh no, don't say that. No, this is not like Harry Potter.
11:16It's just vegetables using, I don't know,
11:20spiritual gifts to make things float through the air.
11:24So he's climbing down the vine. I like the background paintings
11:28here at nighttime. I think they're really nice. Did Joe do those?
11:32Yeah, Joe did those. Joe Sapulich, if you want to write him a letter.
11:36How about that reflection? Detailing on the mirror is very nice.
11:40Lovely. I don't think we had started
11:44to use depth of field here yet either, which we could have
11:48used a little bit. We could have used a little bit more
11:52depth of field. We learned a lot that summer.
11:56Depth of field is when you have something in focus in the foreground.
12:00Oh look, like that. But that was too much depth of field.
12:04When you use too much, it makes it look like they're tiny little models
12:08on a set. Yeah, you don't like that. That was really hard.
12:12And how's he holding that rope? Okay, we won't go there.
12:16Yeah, that's too much depth of field. Yes it was. See, they look tiny.
12:20It looks like miniatures. Yep. Oh well.
12:24This episode is really like a Wonder Years
12:28episode. How's that? Because we learned so much that summer.
12:32That wasn't cheap, was it?
12:36Was that cheap? No, that was not cheap.
12:40Just that breath cost more than the whole first show.
12:44All of Where's God When I'm Scared was cheaper than that breath.
12:48Holy mackerel.
12:52These are the stinky peas. The Peony Brothers.
12:56Where'd you get the name? Well, they're peas.
13:00And Oni, you know. Sounds like Tony, which is Italian.
13:04But what was their name in the Bible? Because this is accurate, you know.
13:08Not many people realize how accurate this was. This film was really, really
13:12accurate. And there are two guys that tried to kill the king.
13:16I think there was this plot. I can't remember.
13:20Yeah, there was a plot to kill the king.
13:24I can't remember. We don't have a Bible on us. I should have read the story again before
13:28we did this commentary to apologize. I don't think there was a piano involved in the Bible, though.
13:32No, there's not a piano, but Mordecai
13:36uncovered the plot and told Esther about it.
13:40All of the major plot points are correct.
13:44See? So there. So don't write us any letters about that.
13:48Hey, who's this guy?
13:52Oh, yeah, yeah. What?
13:56I was just passed a note as a reminder.
14:00And now I remember. But it wouldn't do me any good to mention it now because we're not at that point.
14:04So I'll mention it when it comes up again.
14:08See if you can notice.
14:12See, he's whispering to the queen, just like the Bible, and she's going to save the day.
14:16Before he gets the cake, just like the Bible.
14:20Well, Mordecai came and delivered
14:24the plot to Esther so Esther could then tell the king. I don't think it quite happened
14:28that fast. No, but it's more exciting when it does.
14:32Look at that snake levitating. That's the rope untwirling and then the
14:36P is at the other end of it.
14:40There's a lot of detail on that carpet, isn't there?
14:44I don't think there's that much detail on real carpets.
14:48Oh, man, if you wore a shirt with that pattern on it, you would not get into nightclubs.
14:52I can tell you that much. And if you can't get into a nightclub, what can you do?
14:56You've gone too far. You've gone too far in your film.
15:00I think that's a general rule of thumb.
15:04I like the busts of Nezer in the background. Those are nice.
15:08I really like the little smoking urns when we get to that part, but we're not there yet.
15:12But we're not there yet, so don't even try to think about what I just said.
15:16Or the note that Mike's holding on his lap to tell you about...
15:20Oh, look! There it is! Tell him about it!
15:24Hang on...
15:28I'm going to just put it out there for everybody, just in case they want to notice.
15:32But in the back of the desk, there are horizontal blinds.
15:36No way!
15:40That are modeled after the blinds in The Godfather.
15:44And those little lights in the stairs, are those modeled after lights in the stairs in The Godfather?
15:48No, those are just to create visual interest
15:52when it becomes dark in there.
15:56Because we have little point lights later at night.
16:00He just threw out the whole Island of Perpetual Tickling thing.
16:04What's that all about?
16:08As a child, my worst nightmare was to be tickled non-stop.
16:12I just had thoughts about what it would be like to be tickled.
16:16I kind of like tickling to a certain point, but then after a while, I didn't want to have anything to do with it.
16:20So I just melted milk balls.
16:24And then I ate too many, and then I didn't want to have anything to do with them.
16:28So I thought it would be sheer torture as a child to be tickled non-stop.
16:32Now who's the guy in the robe there?
16:36That's the Grim Tickler.
16:40If he holds a big feather and tickles you, it's not all that scary.
16:44Yeah, one of my friends, their three-year-old when they saw this for the first time,
16:48they were scared of that thing.
16:52It's a nice fountain, though.
16:56They were so scared of the tickler, but they didn't know what it was.
17:00And it had a big feather, so they would just say,
17:04Bad bird! Bad bird! Every time it came out.
17:08And they'd run away and cry.
17:12Oh, that's a nice shot. Look at that.
17:16That's the vertical blinds I was talking about.
17:20Yeah, we should have done vertical blinds. It would have been more 80s.
17:24We could have had Rob Lowe come in at some point.
17:28And then he could have appeared as an assistant to the king.
17:32Sure.
17:36Oh, yeah. I've never seen West Wing.
17:40See, there's the stairs.
17:44That's where the tic-tac-toe is going to be on Ka's head.
17:48Oh, yeah. Wow.
17:52We put tic-tac-toe there just to say that the king doesn't do much anything,
17:56but just kind of sit there and sign useless edicts.
18:00The story of Esther, it was a story,
18:04one of the themes was genocide. Haman wanted to get rid of the entire Jewish people.
18:08And so we felt that that was a little heavy for a kid's film.
18:12Yeah, so some people appreciated that we alluded to that
18:16by the method that we took with the island of perpetual tickling.
18:20But some people didn't appreciate the lightness of it.
18:24But I like it. I think it works for kids.
18:28It's a reinterpretation of the story of Esther, really more than a literal retelling.
18:32Would you say that's fair to say?
18:36Yeah, because the godfather theme, I don't know if that really came in.
18:40It worked for me.
18:44This is a good song. You wrote this song, right?
18:48It could help.
18:52It's a nice one.
18:56Was it inspired by anything in particular?
19:00I don't think so. Basically, I wanted to come up with his plot,
19:04and so I just kind of sat down and started writing out his plot,
19:08and it was kind of a melodic feel.
19:12I remember when we pitched this script to the animation studio, and you sang that song.
19:16Oh, really? I don't remember that.
19:20It was downstairs in the big conference room. Everyone was crammed in,
19:24and you were sitting at a table reading the script, and you performed this whole song.
19:28And it was quite impressive.
19:32Oh, thank you. I don't remember anything.
19:36You're right.
19:40We both have stamps like that.
19:44Phil says okay, and we have to stamp them on art when it's okay.
19:48Oh, here's another note coming to me.
19:52This just in from Yugoslavia.
19:56Oh, wow. The camel from Jonah is on a flyer on the bulletin board.
20:00Yeah, how about that?
20:04The camel from Jonah, but wait a minute. This was before Jonah.
20:08Tell me why I don't understand.
20:12Well, you remember we had started a new development on Jonah at this point,
20:16and we shelved it, and we thought, rhetorical.
20:20I remember that.
20:24See, the reason why Esther looks so nice and is so highly over-textured
20:28is because we were practicing and over-budget.
20:32The way we did it, as complicated as we did it,
20:36so we could learn how to make a movie.
20:40We shelved Jonah for a while.
20:44And it also turned out to be 45 minutes long, too.
20:48It turned into a movie of its own.
20:52Love that texture on his hat there.
20:56Man, that's nice stuff.
21:00Check out Pogrape's hat in God Wants Me to Forgive Them
21:04when he first shows up on the scene, and then compare the
21:08geometric and textural detail to this headgear.
21:12Woo-wee! That's something.
21:16If we could all go back and clear up the buzzing in that hair.
21:20Yeah, and give that girl some arms.
21:24Do something with her hair.
21:28We're blessed and saddled with vegetables.
21:32They're both a blessing and a saddlement
21:36at the same time.
21:40Because they're a blessing because everyone likes them very much.
21:44They're very popular, so it helps you to tell a story with the vegetables.
21:48Then people like it. They want it.
21:52But at the same time, you want to give girls a beautiful role model,
21:56and green.
22:00You're trying to think, no girl's going to want to play with this Barbie doll.
22:04It's got no arms, and it's green,
22:08and has brown eyes that look like amphibious eyes.
22:12Those are nice.
22:16Tom Bancroft actually helped us out a little bit with character design here, too.
22:20From his work on Little Mermaid.
22:24The line of the upper lip,
22:28he helped tweak that a little bit.
22:32He tweaked the line of her upper lip?
22:36Joseph Pulich did the major character design in her,
22:40but Tom helped out a little bit there, too.
22:44Here goes the levitating crown.
22:48You should put little jets on the bottom of it.
22:52We were being very filmic here.
22:56We wanted her crown to represent
23:00her responsibility.
23:04She's wrestling with the responsibility that God has given her.
23:08Whether she should take that responsibility,
23:12put the crown on, and act in her role as a queen
23:16to help her people, or if she's just going to save herself.
23:20People at Big Idea have noticed that on days
23:24where I don't wear my crown, I'm wrestling with the responsibility
23:28of Big Idea.
23:32If it just weren't so floaty, it might have worked a little bit better.
23:36See, again, it's the settlement.
23:40I've never heard settlement before. I've heard curse.
23:44Settlement?
23:48You won't want to call it a curse, though.
23:52I'm trying to expand your vocabulary.
23:56At some point, you run out of real words.
24:00The only way to increase your encyclopedic vocabulary
24:04is to make up your own words.
24:08What were those called in the 80s?
24:12Sniglets?
24:16Sniglets?
24:20Sniglets?
24:24Sniglets?
24:28Sniglets?
24:32Sniglets?
24:36Sniglets?
24:40Sniglets?
24:44Sniglets?
24:48Sniglets?
24:52Sniglets?
24:56Sniglets?
25:00Sniglets?
25:04Sniglets?
25:08Sniglets?
25:12Sniglets?
25:16Sniglets?
25:20Sniglets?
25:24Sniglets?
25:28Sniglets?
25:32Sniglets?
25:36Sniglets?
25:40Sniglets?
25:44Sniglets?
25:48Sniglets?
25:52Sniglets?
25:56Sniglets?
26:00Sniglets?
26:04Sniglets?
26:08Sniglets?
26:16Sniglets?
26:28Sniglets?
26:38Yeah, no, she still failed here to this is the first time she tries to deliver the message, but she can't she can't
26:45All right, she chickens out now. There was there was a debate
26:50Among scholars whether Esther was was really afraid
26:55About this or whether it was she was actually scheming herself really and building
27:01Building tension and dramatic tension. Yeah, and actually getting him in well not to make a better movie
27:06But getting Heyman into a place where he was more trapped
27:10And actually, you know trying to spin this whole
27:17This narrator was our friend Eric my taxes. Oh, yeah, cuz he's from New York so you can do a New York
27:23Yeah, very authentic. That's right. Oh
27:27We can do Chicago accents pretty well actually a children's book author. That's right. Not an official voiceover guy
27:34But he
27:37Yeah, oh look at look at that what's with the
27:42It's trivial pursuit out of control. Yes is a good trivial pursuit gag
27:48Yeah, I wanted I wrote a twister gag that was supposed to go next but oh, yeah so much got cut
27:53Yep, man, and I got cut even further for international because if you had to get down to a half an hour, yeah
28:00Boy, there's like just the credits now. Yep
28:03I
28:07Like all the design work on all the cups and everything. Yeah, I love the
28:14Chamber there. Yeah. Yeah, just the way the greens and reds nice stuff together
28:20nice stuff
28:22Although I like the bedroom better
28:25Nezareth's bedroom. Oh, yeah. When is that? That's next. Is that next? I believe so. This is a tense scene. Oh, no Nezareth
28:31Oh, yeah. Yeah, you know that's actually yes
28:33I think look at that. That's a pretty cool trick. Yep. Now Luis Contreras storyboard artist here actually
28:39When he boarded this he boarded, you know, he would want there, you know flipping these cards and the first thing I said was are you?
28:46crazy
28:48We can't do that, but it was such a nice little device for him to have and money was no object
28:54That's right. Well, and they said oh we could do that. That'll be automatic. Yeah
29:00Just like the hair
29:01And so we went ahead and did it and I'm you know, I'm glad we did because it's just it's a very nice little effect
29:07But it took its toll
29:09It took its toll on us all. Yeah, but it's it's very nice
29:14Yeah, and it should have been closer to his body because it kind of looks a little floaty
29:19Again Dan O'Brien
29:21Very nice lighting. Whoa, what happened there? Yeah, his cards flew out of his hands
29:26Oh
29:28And now they're blowing just with the wind as there's you know, sometimes when even someone without hands can't hang on to his car
29:40This is bad, yep
29:42And it's accurate. This is biblically and look at this. Look at this
29:45Janet Janet. Okay. Now that is the answer to who was the youngest Jackson, right? Yeah. Yeah
29:52We hope you all got that
29:55We're working hard on these jokes you better be laughing
30:00The lighting in here I love the lighting in this scene. Yeah. Oh, look at that. That's like butter. Yeah, just like butter
30:06Well it butter I can't believe it's not butter actually it's melt in your mouth
30:13But this scene is a little I don't know maybe this was too sublime
30:18Yeah, I don't know it's funny though I thought did you guys think this was funny cuz I thought it was funny
30:24I kind of liked it because it's actually what happens. You see here's the thing
30:28This is actually what happens now Robert McKee in his book story
30:32Who's the godfather of screenwriting says the fact that it actually happened is the worst possible reason to put something in a movie
30:41So color us guilty of that
30:44But maybe it's only funny to people, you know
30:46Who know the Bible story so well that they think it's funny how accurate this is even while seeming ridiculous
30:52People who don't know the Bible story so well just think it seems ridiculous and maybe they don't like it. I don't know
30:57Well, I think we're just I thought sensitive to critique
31:07You liked it my four-year-old daughter liked it look he's got feet under the cover. Yeah, he's got little feet
31:15That knows that's going the extra mile
31:18But the wall behind Hayman outside in the hall is is defocused and I don't think that's a justifiable
31:24Yeah, we were learning a lot about you know, there it is kind of because we're in time
31:28I know what Dan O'Brien did but on the long shot after Esther he went out with his camera
31:33Playing with his his f-stop and his yeah focus and everything
31:40And everything all those photography things. Yeah, and he actually took like
31:44Dozens of pictures of a single object
31:47Reality and then we created this chart over how you know realistic, you know camera
31:52I can't will pick up depth of field and we just didn't quite have all that information
31:56Yeah, so we learned a lot right we learned a lot again. It was like an episode of the wonder years. Yeah
32:00Yeah, where much was learned. We all sang the what have we learned song after we finished the show. Yep
32:07See, but this is true. This really happens
32:09We're not making this stuff up, you know, well parts of it, but you like the fedora we made the fedora. Yeah
32:20That's funny, oh those are nice shots had we done when did we start doing nice rim lighting like that
32:28Some rim lighting in King George in the ducky. Oh, I think yeah, I think
32:32It's quite hard in computer animation because it happens actually in real life because of you know, the
32:40imperfections on a surface
32:43We actually have to set up a rim light. Yeah, you have to kind of fake it to make it happen in CGI
32:52I
32:54Think it's a good idea. Yeah, I think it's a good idea. Yeah, I think it's a good idea
32:58Make it happen in CGI
33:01In fact rim lighting in CGI was kind of born with Bugs Life that was well
33:06That's that's my favorite the first stills came out from Bugs Life before it was released and the CGI community went
33:13Oh my goodness, how'd they do that lighting? Yeah
33:20Yeah, we'll pause to honor
33:22Okay, now this this was very filmic too we we just did a little change of light over this
33:28Palace still indicate night today tonight
33:32Pass and a day very filmic. Yep. Yep
33:37Should have been nominated for something or other I
33:40Don't know what now they're having pizza. Yep. I love the coloring in here. Isn't that nice?
33:44Yeah, green and that's nice. Do you know if we use the pizza box logo that we always use for a pizza box?
33:50I think it has a piece of the lion pizza on there
33:54from Daniel in the lion's den
33:57Maybe we can get a shot of that
34:00You know pizza the pizza box was very strategic too because we tried to hide a lot with that pizza box
34:05because
34:07Nezer
34:08Doesn't really see he was actually intersecting the sofa
34:10We couldn't get him to sit well and still head because if you sit if you if we were to sit him completely on the
34:16His his mouth crunches up into his nose and he looks really great
34:20So we use the pizza box to actually hide in the fact that he was there's some nice to sitting field
34:24That's a decent depth of field. Yeah, it was pretty good. Most of our veggies are not good sitters. No, no, they're not
34:32Hence the joke in Rack Shack and Benny with Bob right whether he's sitting or standing
34:36I
34:43Vanish I PT that little bunch of grapes there. Yeah
34:48What's my tea stand for the island of perpetual tickling right? Yeah, I was hoping you remember
34:57Look at the color in that isn't that nice?
35:00Yeah
35:04Now you remember that you see that curtain that semi-transparent yeah back there we had more trouble. Oh, yeah, that curtain was a nightmare
35:11Yeah, man, if you're gonna make a CGI film, don't don't take a semi-transparent. Yeah
35:17Yeah, Nicole bad bird bad bird
35:21You know, my son calls the whale from Jonah right me. Um, um, yeah
35:26Um
35:28He's only he's less than two at the time of this recording. So he calls it. Um, that's funny
35:33Yeah, you think he'll be older later probably. Yeah
35:36By the time this comes out in your brochures. I'll be about 12. Oh
35:45Dear
35:48What's this what's going oh, yes, this is the wrap-up. Oh, yeah, this is really what that King does
35:53Yeah
35:54See look how happy they are. Everything is right
35:58Everything wrong is right again
36:01And she comes out and the score swells and it's so
36:06Disney Riffic Disney Riffic and if we could just a scene from buzzing it would work. Well, look at that
36:11Okay, so there's a lot of buzz in here. Wait till we turn the corner then it's just gonna get crazy
36:17But then look look she gives this look to the camera. Yeah
36:23Oh man, it just gets you right there and then it starts
36:31Yeah, that's all right, it's electric and then it gets back so you can't really tell too much the foliage is a little thin
36:38Yeah, it looks expensive stuff. Yeah. Yeah, it was mostly designed for nighttime scenes. Oh, look, that's the end
36:45Yeah, that's pretty good. You know, I
36:48Don't think it was a pretty good job. It's wrong. Yeah, they were wrong about this one bad critics
36:55Okay, we floated a few crowns and you know other things. Yeah a little excessively
37:05Yeah, I think and the score is by far the best score we had ever done
37:08Yeah
37:09if we actually used like half an orchestra for this one and before we just used little bits and pieces of an orchestra like a
37:15Guitar and to record the score
37:18This I think we had what I like a 12-piece string section on this one
37:22Yeah, and I think he actually doubled it, you know, so they recorded. Yes. It sounds like 24, right?
37:28But it was really 12. Is that deceptive? You think that's dishonest?
37:32Well, if you say you have a 24 piece orchestra, oh, then it's honest
37:36We didn't say that. What did we say? I think we just
37:39Probably coming up pretty soon. And I think the the puppy song is coming up here pretty soon
37:43Oh, you know the other thing about this show is it didn't have a silly song and we were trying to get away with
37:48You know the puppies song as the silly song, but since we had to cut it so much
37:52No, right that it was they didn't buy that. No, we tried to make that are you have a lot of complaints about that?
37:56It didn't have countertop either. We were originally we had countertop written for this, but it was too long, right?
38:01And so like an hour long and I think that was part of what you know
38:05And so like an hour long and I think that was part of what you know
38:09We got complaints about because it had no silly song and it had no. Yeah, we always get complaints when we do something
38:14That's you know out of the ordinary a little bit different
38:19Letters come in. Where's my shark song? She played the cello to chill on the accordion. What do you know about that?
38:26Okay. Oh, here's the whole song. There's the string players
38:36Bad
38:38What's a tender puppy, I don't know it's like a soft little puppy
38:44Like emotionally tender
38:51Well, there you go
38:522000
38:532000 or maybe we did it in 99 and we don't know when we did it. We don't even know where we are
38:58I don't know. This is Phil. This is Mike signing off. Good night
39:05You