As a seasoned gamer who has dabbled in everything from pixelated classics to cutting-edge VR experiences, I can confidently say that Barry Jenkins‘ foray into CGI with “Mufasa: The Lion King” is not exactly my cup of tea. Don’t get me wrong, the guy is a genius when it comes to storytelling and visual aesthetics, but give me a real set, some tangible props, and actual actors any day over the cold, sterile world of CGI.
Barry Jenkins expresses no eagerness to revert back to the computer-generated imagery (CGI) used in his forthcoming film, “Mufasa: The Lion King”.
Slated for launch on December 20th, we have “Mufasa: The Lion King,” a sequel to the 2019 version, which was a live-action remake of Disney Animation’s 1994 film with the same title. Similar to its precursor, Mufasa utilizes cutting-edge CGI and photorealistic animation to breathe life into the safari animals.
In a conversation with Vulture, Barry Jenkins reminisced about his initial thoughts when taking on this role: “Initially, there was the question of ‘What visual effects expertise does Barry Jenkins possess? Why in the world would he work on this film?'” He was also aware that questions like “Why is he directing The Lion King?” would inevitably arise.
Jenkins went on, expressing that a significant aspect really energized him. These tasks are created using computers, meaning they’re accessible to everyone, aren’t they? There’s no inherent limitation that prevents anyone from accomplishing this.
Apart from admitting that he took on the job as a “work-for-hire,” he also explained his motivation was to secure a stable three-year employment opportunity in Los Angeles, a city where he resides with his spouse, who is known for directing the film “The Farewell.” Jenkins expressed his need to reduce the pace of their busy lives as they were frequently moved to different cities due to their respective jobs. He put it candidly, saying, “I needed to slow … things down.
This week, Jenkins admitted he nearly declined the project when Disney first presented him with the script. Initially, he thought, “I’ll just wait a few days before calling my agent to say that I’ve read it and I won’t be taking on this project.
Later, he and Wang took a trip together, and the matter slipped his mind. Upon returning home, he realized, “Ah, of course! I need to contact my representatives tomorrow and inform them that I won’t be working on this project.” Then, his spouse inquired, “Are you hesitant about going through it?
After promising himself he’d only read five pages from the script, he unexpectedly found himself reading an impressive 50 instead. He then turned to Lulu, exclaiming in astonishment, “This is fantastic!” as he reminisced.
Transforming the script into a digital reality was quite a challenge, my friend. Unlike a traditional film, this CGI movie didn’t need any physical sets or costumes. Instead, it utilized a bare soundstage as its canvas.
Jenkins expressed his discomfort with the process, stating, ‘This isn’t my area of expertise.’ Instead, he yearns to return to a method where he can directly manipulate everything, saying, ‘I believe what we have here is sufficient. The challenge lies in understanding the right mix of elements to bring about alchemy – that magical transformation. How can we combine these people, this light, this ambiance, to generate an emotionally resonant and aesthetically pleasing piece? One that carries a textured and profound narrative?’
The director of the movie “Moonlight” shared that he aimed to incorporate some of his philosophies into the character of Mufasa, using prolonged, continuous shots that Disney found too “slow” on occasion. He also recalled an incident where the animators unintentionally created a scene suggesting the camera operator had lost their balance. Initially, they removed this scene, but Jenkins urged them to reinstate the mistake.
He advised, “Avoid making it too polished or contrived.” What we’re aiming for is something that has a sense of authenticity and texture, something that feels like it grew organically. It can be challenging to achieve this balance because every detail matters, each blade of grass must be carefully crafted. However, the goal isn’t to make it seem like it was created by just anyone. Instead, we want it to appear as if it emerged naturally on its own.
Mufasa: The Lion King hits theaters Dec. 20.
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2024-12-06 05:25