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4. The Canvas. When hand-drawn warmth gets adapted into the cool pixel-precision of CGI, the fear is often that something will get lost in the translation. Steve Martino knows he is trying to bridge this chasm between two distinct visual languages. “I’ve talked to Craig a great deal about this,” Martino tells us. “His dad understood that when he drew for comic strips, he drew for one canvas. And he was very aware that for animation, you paint on a different canvas.”.
For Martino’s crew, that first meant acknowledging that trying to replicate a hand-drawn work is not a particular strength of the CG medium, “I told my team of animators ballet practice shoes to embrace that limitation and turn it into a style, They embraced that challenge.”, Martino kept returning to the source material, “My mantra to the team was: ‘Find the pen line of Sparky — the way he shaped Charlie’s head.’ “, “We spent well over a year studying how [Sparky] put pencil lines down and how he created that emotion — how the dot of an eye [conveyed] joy or sorrow” so efficiently..
“Really, it’s a Picasso drawing,” Martino says of Sparky’s visual genius. In trying to create a style of movement for the characters, though, the filmmakers needed to solve a range of visual challenges. Fortunately, an animation master had already traveled along this path. 5. The Master. The Blue Sky artists hit obstacles as they tried to create each smooth-moving figure. Some of them were fresh off the animated film “Epic,” which, as Craig Schulz says, is “as close to human movement as you can get” in cartoon form.
They had studied Charles Schulz’s line, Now they needed to study the work of a man who had been in their shoes, “We step off of a legacy of how Bill Melendez created,” Martino says of ballet practice shoes the late Emmy-winning animator, “I go back to the Christmas special,” 1965’s “A Charlie Brown Christmas.”, When Melendez visually adapted the static comic strip for the screen, he had to “paint on a different canvas,” Martino says, For example, Martino explains, “Sparky drew Snoopy on the doghouse, the Flying Ace , , , but Bill Melendez [had to] make him fly — he put him up in the air, That’s amazing, , , ..
The filmmakers also want the spirit of Melendez to grace the film more overtly. “I really wanted Bill Melendez to voice our Snoopy, too,” Martino says. “We dug into the archives of Bill doing Snoopy and Woodstock and we got the rights to use that,” Schulz says. “And we met with [producer] Lee Mendelson and got the rights to the music.”. “Listening to the clips of him laughing as Snoopy — that is liquid gold. It’s so infectious,” Martino says of the Melendez archives.
That, however, is the only voice actor “Peanuts” filmmakers will divulge, “In terms of casting, we haven’t announced our cast,” says Martino, who previously has worked with the voices of Jim Carrey, Amy Poehler, Steve Carell and Carol Burnett, But, it will “follow the same thing that was done on the first Christmas special, [with] the charm of kids’ voices.”, Martino is also tight-lipped about what the film’s narrative will be, though he will tell us: “Here’s ballet practice shoes where I lean thematically, I want to go through this journey, , , , Charlie Brown is that guy who, in the face of repeated failure, picks himself back up and tries again, I think what Charlie Brown is — what I hope to show in this film — is the everyday qualities of perseverance, , .to pick yourself back up with a positive attitude — that’s every bit as heroic , , , as having a star on the Walk of Fame or being a star on Broadway, That’s the [story’s] core.”..
“This is a feature film story that has a strong dramatic drive, and takes its core ideas from the strip.”. 6. The trailer and beyond. As March approached, so, too, did the deadline for the film’s debut trailer. Would fans appreciate how Blue Sky was, as Martino says, “bringing these characters into a beautiful CGI world”?. “My hope is that we’re lifting a filter,” Martino says. “Charlie Brown’s shirt has a cotton texture, and shoes made of leather. We walk into this world and see the shapes and objects and [know they’re] completely derived from what Charles Schulz drew.”.
“I was with my family members, and it brought tears to their eyes when they saw the trailer,” Craig Schulz says, “There was the fur on Snoopy, and you could feel the texture and the way the clothing moved.”, Now that “Peanuts” fans have embraced the trailer, the filmmakers know they’ve got to continue with this high-level commitment, “It’s been a big, long, difficult road,” says the filmmaking son of Charles Schulz, “But we’ve got ballet practice shoes to uphold the legacy and be genuine to ‘Peanuts.’ “..