Netflix’s ‘That Christmas’ and How Locksmith Animation Bet on Brian Cox and Richard Curtis for a New Holiday Classic

by

As a seasoned film critic with over two decades of experience under my belt, I must say that the creative team behind “That Christmas” has truly outdone themselves. The attention to detail, from the authentic sets and costumes to the intricate snowfall effects, is nothing short of extraordinary.

Are you looking for a family-friendly movie to enjoy during the holiday season? How about an animated film set in snowy landscapes, with Brian Cox as Santa Claus? It also features the voices of Fiona Shaw, Rhys Darby, Jodie Whittaker, and Bill Nighy. The director is Simon Otto, who previously worked as head of character animation on the How to Train Your Dragon films at DreamWorks Animation. Notably, the story is based on a series of children’s books by Richard Curtis, renowned for writing movies like Notting Hill, Four Weddings and a Funeral, and directing Love Actually. Netflix found this pitch appealing, and the movie, titled That Christmas, can now be streamed thanks to Locksmith Animation (Ron’s Gone Wrong). There will also be select theater screenings in the U.S. starting from November 27 and in the U.K. from November 29.

For the residents of Wellington-on-Sea, this Christmas will be one they’ll never forget as the largest snowstorm ever recorded disrupts everyone’s festive plans – even Santa Claus’, as suggested by the movie’s synopsis. The trailer for this upcoming film has already been released and garnered positive attention, with THR‘s review deeming it a “complete joy” and predicting its potential to become a beloved holiday tradition.

In one of the three intertwined tales, a troupe of neighborhood children perform a modern take on the story of the Three Kings, titled “Three Wise Women“. Another story follows a boy who harbors feelings for a girl, but due to her apprehension and his timidity, their chance at love encounters significant hurdles. The third narrative focuses on two pairs of parents who decide to attend a wedding despite the harsh winter conditions, implying they must conquer snowstorms and other difficulties if they are to return home in time to celebrate Christmas with their children.

During my tour at Locksmith Animation’s headquarters in North London, the fervor and enthusiasm of the team members about the project were clearly evident, as was their dedication spanning numerous years to ensure its brilliance.

Regardless of where you reside, gathering with loved ones to commemorate special moments is a universal feeling, as shared by Locksmith Animation co-founder and head of production Julie Lockhart in an interview with THR. The anticipation leading up to the celebration and the potential turmoil during it are experiences we all recognize. Although the narrative is set in the UK and tailored to the local culture, the objective was to produce content that families can enjoy regardless of the holidays they observe. This was the delight behind its creation.

At a time when distressing news about wars, disagreements, and quarrels frequently fill the world’s news bulletins, there was a powerful drive to generate something inspiring, enjoyable, and optimistic instead.

According to production designer Justin Hutchinson-Chatburn, “That Christmas” is distinctive because it doesn’t require extreme tension. In contrast to many current projects, where the stakes appear incredibly high, this story offers an opportunity for everyone to relax and enjoy.

Otto considers the movie as nourishment for one’s spirit. He believes that creating films should be done with the viewer in mind, ensuring it’s enjoyable for all ages. As he puts it, “It’s essential to include kids in the experience, so everyone across various age groups can participate.” He often finds adult-oriented TV shows that revolve around distressing themes such as violence or shocking events.

In this fictional town, Curtis, a co-writer and executive producer, along with the Locksmith team, drew inspiration for the atmosphere from a particular region of Suffolk in East England, where a renowned author resides. Establishing the film’s backdrop in an unexplored part of Britain might offer benefits, as suggested by the creative minds behind it.

Otto says, ‘It’s not a world full of wonders, but it’s one that stirs dreams and makes you yearn to be part of it, to live its experiences.’ Perhaps because it feels familiar, there’s an allure to stroll through the streets of this town,” Otto tells THR.

In fact, according to Hutchinson-Chatburn, That Christmas is set in a “relatable world.” She appreciates the authenticity found in many of its design and visual elements. The events that occur to these characters are delightful and could potentially happen to anyone. While certain aspects may be slightly heightened, they aren’t so extreme that you have to disbelieve it. This way, you can immerse yourself fully in the story, one that feels like it could be a part of your own life.

Working with a renowned entity such as Netflix, whom Lockhart admires as an exceptional partner, allows you to connect with a vast audience. This is particularly thrilling, especially for a family film like ours.

This Christmas marks the initial time Curtis has produced a movie exclusively for Netflix, despite his films being distributed on the streaming platform previously. He shares this with THR, stating, “Many of my friends have opted for this path. However, this is my first.

Apart from being his initial foray into animation, this project turned out to be a significant time commitment for him. As Curtis humorously notes, “I hadn’t realized it would consume five years of my life.” The challenge was immediate, as he found himself needing to connect not just one, but three different stories.

He discovered aspects of the animation creation that left him astonished. “It’s fascinating, yet incredibly distinct,” he notes. “There are certainly challenges associated with it,” he adds. What particularly delighted him was realizing that you essentially script, direct, edit, and film simultaneously in the animation process.

Working on the animations provides artists with the flexibility to insert or adjust scenes, which Curtis found useful for ensuring crucial plot points were accurately portrayed. He recalls commenting, “We’ve concluded a scene, but we need a few more shots to make it flow smoothly.” The possibilities that animation offers, which differ significantly from live-action filmmaking, are still novel to him.

However, he found confidence in the expertise and foresight of the locksmith team, praising them for their “collaborative efforts since day one.

Otto remembers a time when him, Curtis, and the rest of their team were brainstorming details for a significant scene involving Danny, a newcomer in town whose storylines are crucial, as portrayed by Jack Wisniewski. The scene depicts Danny walking home alone, and the plan was for Santa, the story’s narrator, to explain that “Christmas is like a magnifying glass for emotions.” Otto recalls Curtis suggesting the line “It’s tough finding friends,” but Otto wasn’t convinced it added much value. Richard then commented, “This is hands down the best line I’ve ever penned.

In response to Otto’s question, he reminisced about saying, “Are you certain? Does it rival ‘I’m just a girl, asking a boy to love me,’ a memorable line from Julia Roberts’ character in Notting Hill,” referring to her conversation with Hugh Grant’s character. Eventually, they settled on a different phrase: “It’s tough making friends.” Otto added, “That fits perfectly in the movie. However, it was one of those instances where we conversed but found our way there indirectly.

The Locksmith team placed a strong emphasis on editing, a skill offered by editor Sim Evan-Jones. According to him, speaking with THR, “In animation, there are several ways to boost the writing’s impact.” This is because we strive to convey the story not only through dialogue but also visually.

According to Hutchinson-Chatburn, having rooms and other “stages” adorned with items that give personality to scenes and characters was crucial in creating an “authentic” atmosphere for viewers. He emphasized the importance of avoiding sets that seem undecorated or unfinished, as this could leave audiences feeling cheated. Therefore, they prioritized this aspect significantly during their design phase.

One important character posed a particular challenge in the making of That Christmas: the snow.

Producer Nicole Hearon (Moana, Frozen) recounts, “We came to understand just how significant snow was in our environment and its impact.” Snow, they recognized, was not only essential but could also bring excitement, originality, vitality, and emotion for the audience. However, snowflakes can vary in shape, density, and number, which significantly affects the atmosphere. This realization led them to the conclusion that they needed a specific vocabulary to effectively convey different types of snowfall.

Initially, the team planned to incorporate visual effects in about 30% of the movie. However, as work progressed, they discovered that a staggering 80% actually required such effects, meaning more laborious tasks. As Hearon put it, “At first, we thought only 30% of the film would need visual effects, but upon further examination, it turned out to be 80%.

Absolutely, this situation also implied a potential rise in expenses. Otto admitted that it presented a significant budgeting hurdle, but he emphasized the necessity of being more efficient – trimming unnecessary shots when possible. Remarkably, not a single compromise was made that didn’t eventually prove advantageous for the movie.

Without any doubts, Cox was the ideal choice for the role, given his rising popularity following his portrayal of the gruff media mogul Logan Roy in Succession. Although a selection procedure led to this outcome, there were discussions about where Santa should hail from. “We considered having him come from the North,” Curtis explains. “One possible location we pondered was Scandinavia, which brought Stellan Skarsgård to our minds.

Otto clarifies that they seized the moment to introduce a globally recognized character, while ensuring the cast remained rooted in locality. Santa was their means to infuse international flavor and a foreign touch. Although Cox hails from Scotland, his accent is subtle enough. Moreover, he possesses the necessary acting skills.

Otto notes that he possesses a unique talent for being both daring yet heartwarmingly gentle and affectionate when it comes to storytelling. He emphasized the significance of his ability to narrate the tale in such a way that it feels like one is listening to a father telling a bedtime story to a child. This quality gives the narrative a comforting, intimate feel, while still retaining a touch of British charm and an international flavor. Interestingly, as we grew more fond of his work during the project, his role expanded significantly.

The creative team shares their aspiration that That Christmas might establish itself as a cherished annual tradition for numerous families. “I’d love for it to be a gift that continues to give, as it will be there every year,” Lockhart expresses. “If this happens, it could become one of those timeless classics. Should that come true, it would truly fulfill our lives.

Simon expresses his heartfelt aspiration: “It’s our ultimate wish for the film to endure, becoming a timeless holiday classic. As people watch it year after year, they might uncover details they missed during their initial viewing. Achieving that would truly be a dream come true.

***

That Christmas is now streaming on Netflix.

Read More

2024-12-04 21:25