Meet the robinsons singing frogs in mud

Try, Try Again Chapter 8, a meet the robinsons fanfic | FanFiction

meet the robinsons singing frogs in mud

Come join in and sing along with every song from the Disney animated canon. The Adventures of Ichabod and Mr. Toad () Has Arrived” to the Meet the Robinsons soundtrack, and given some of the other Top involves covering himself in mud, floating along under a balloon, and singing about. I just remembered these frogs were played by the Jonas Bros. Meet the Discover ideas about Meet The Robinsons Characters. Frankie Dirt Kingdom ref. Frankie Background information Feature films Meet the Robinsons Video slender, green frog with tuxedo, barefoot Alignment Good Likes Singing, flies, his. .

Treasure Planet Screenshot Patrick McGoohan, the voice of Billy Bones, had a very bad cold when he recorded his lines, which turned out to be perfect for his phlgemy, coughing character. Treasure Planet Screenshots John Silver's striped pants were such a pain to animate that the people in charge of cleaning up the drawings begged for a costume change.

They got the desired change about halfway through the movie. Pirates were killed off in order of how difficult they were to draw. Treasure Planet Screenshot "Treasure Planet" was released inbut it was originally pitched at the same meeting where "The Little Mermaid" was pitched — clear back in The filmmakers said it was actually good that it took so long to make the film because it allowed real-world technology to develop into what the story really needed.

His character was a rival inventor who, desperate to beat Cornelius Robinson, traveled back in time to ruin Lewis' science fair. In the finished film, his storyline is quite different. The villain wore a bowler hat in early versions of the story, and its arbitrariness irked writer Don Hall enough that he wrote an explanation for it, thus creating the character of the evil bowler hat Doris.

Doris began life as a sidekick, but script changes soon promoted her to the true villain of the movie. Meet the Robinsons Screenshot While Wilbur flies Lewis through the future city, look for Disneyland's Space Mountain located in Tomorrowland and the modernized sign in front of it.

Meet the Robinsons Screenshot Casting younger actors in an animated film is always a race against nature, and in "Meet the Robinsons," the filmmakers lost — twice. Daniel Hansen was cast as the original voice of Lewis, but nature required the filmmakers to find another Lewis. Jordan Fry took over and matched so well that there are lines in the movie that are half Daniel and half Jordan.

Wesley Singerman was cast as Wilbur, but again, nature took over and the filmmakers had to search for a second voice that could match what he had recorded for the character. When they couldn't find a voice to match year-old Wesley, they re-recorded all of his dialogue with a year-old Wesley.

Meet the Robinsons Screenshot The film sequence introducing the Robinson family includes a Tom Selleck joke, and filmmakers were required to get permission to use his image.

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It made sense, then, to also get Tom Selleck to do the voice of the character who was purported to resemble him, which is exactly what Disney did. Meet the Robinsons Screenshot The theme of the Robinson family is "keep moving forward. We keep moving forward, opening up new doors and doing new things, because we're curious. Musker was determined to put an A in "The Princess and the Frog," and managed to do so on the New Orleans streetcars. Tiana's dimples were also modeled after Rose's dimples.

meet the robinsons singing frogs in mud

The Princess and the Frog Screenshot In early versions of "The Princess and the Frog," Louis, the trumpet-playing alligator, was a human who lacked any musical ability. After striking a deal with the villain Dr. Facilier, Louis gained the ability to play the trumpet but was turned into an alligator.

The storyline was eventually cut because it was too complicated. The Princess and the Frog Screenshot Randy Newman, who wrote the music for "The Princess and the Frog," recorded voices several times for different characters because each time he voiced a character, that character was either cut an otter or the lines were dropped a turtle.

Newman made it in — and stayed in — as the firefly Cousin Randy. The Princess and the Frog Screenshot During the Mardi Gras parade scene, watch for floats that pay homage to Disney — there's a mermaid float, an Arabian knights float, a Greek mythology float and a pirate float. Tangled Screenshot The look of "Tangled" hero Eugene Fitzherbert aka Flynn Rider was decided through what filmmakers called, "the hot man meeting.

Using those notes, filmmakers were then able to develop the final design. Tangled Screenshot On the day the chameleon in "Tangled" was due to be named, animation artist Kellie Lewis bought a chameleon and named it Pascal.

The filmmakers liked the name so much that they asked if they could use it, and Lewis said yes. These were the real-life babies of the real-life Pascal born during production of the film. Tangled "Tangled" by the numbers: It took the title from "The Hunchback of Notre Dame.

The films they included in this count were in order of release: Flynn's fortune said that, "A symbol of untold wealth and beauty will be attained and then slip from his grasp. Although the monkey didn't make it into the final film, he still appears in the credits. For a long time, though, Fix-It Felix was the protagonist and Ralph then named Wendell Grubble was just a guy who lived in the dirt and threw trash around.

Wreck-It Ralph Screenshot In "Wreck-It Ralph," the characters travel from game to game through Game Central Station, which resides in the power strip connecting all the games together. In writing the film, Rich Moore and Phil Johnston said they once planned to have the characters travel from game to game through a magical vortex Felix found in his toilet, but then they "realized that was really stupid.

The 8-bit world of Ralph and Felix was built around squares, from the dust to the trees. Even characters except for Ralph don't move diagonally.

How director Steve Anderson met The Robinsons! – Animated Views

In the game, "Hero's Duty," the world was built around triangles and filmmakers sought to give it the gritty feel of "Saving Private Ryan" and "Alien. Filmmakers referenced classic Disney films like "Alice in Wonderland" for locations like the castle of King Candy. Wreck-It Ralph Screenshot Visual development artist Brittney Lee built a model world out of candy, which filmmakers then spent the next year referencing as they created the Sugar Rush game.

Sugar Rush was originally called "Candy Hollow. His sketches of the snow queen show striking similarities to Elsa, from the blue, sparkling gown to the long braid thrown over one shoulder. Frozen Screenshot As with any film, "Frozen" underwent script changes and revisions throughout the filmmaking process.

There were several versions of the story where Elsa was the villain and commanded a giant army of angry snowmen. The making of the film turned out to be a great technical, but also human, adventure of its own and he kindly accepted an invitation to share that journey with us recently, as the DVD of his film was released. How did you come to Disney animation? So I was very excited when I heard about the California Institute of the Arts, which is a school out here in California that is a kind of a premiere place to go and learn animation.

So I came out and I went to Cal Arts for up to three years. I worked a little bit off and on during my third year, then I left Cal Arts and I worked at a studio called Hyperion Animation where I did various things: Then I came to Disney in to work on Tarzan at the story department. Story was really the thing that I was becoming really passionate about and I felt that the Disney story department was really the place to go to learn the craft of storytelling, the craft about staging, about all the theories of storytelling as well as the practical artistic side of storytelling.

I was very fortunate and lucky to get there. Then I got to be on the Robinsons project. Can you tell me about the scenes you did on Tarzan? I did a lot with the humans in act two, mainly on Jane Porter and Clayton. And then Tarzan comes in and the other two humans meet Tarzan for the first time. These are the two moments that stick out to me.

I had just gone off on Tarzan and was asked to go help them to do some storyboard. Again, on Brother Bear, the creation of the story began in some other directions.

How did you deal with that? I had come on those two films really early, from pretty much the beginning, helping to shape the story with the team and the directors. On Brother Bear, I think they had been working for about two years already on the story when I got onto the movie. On a total of four years, I was on for about two and they had been on it for about a year and a half — two years already when I started.

So I kind of came in the middle of it and the crew already knew each other, they had a dynamic. So when I came in, I had to learn and understand very quickly the personalities who were there, and the structure and the dynamic that were in the room.

Disney's Frankie & the Frogs /meet the Robinsons

Then, I got involved with the story and tried to figure out with the director what the movie really was about. What I did the most was to ask them a lot of questions. I asked the directors constantly what the movie was about, what were the themes of the film, who they though this character was. The director is the director of the story. That kind of was how I saw my role on that film. So this kind of training must have been instrumental in your approach to story, I guess.

Character is the primary tool that we as storytellers have to connect with an audience. How did you become aware of the Meet the Robinsons project? I was just finishing up Brother Bear and I had expressed interest to the studio, probably prior to getting on to the Brother Bear project, that I was interested in directing someday.

So they were aware that I was interested in doing that, and they had this script that, at the time, was called A Day With Wilbur Robinson that they developed while I was working on Brother Bear.

There were two development executives and a writer that were working on this script. Toward the end ofthey came to me and said: Where do I come from? Who is my birth mother? Why did she give me up?

Those kinds of questions. I understood his questioning of the past and about where you come from. I understood those questions and immediately felt that I knew how to tell this story. I understood this boy, I knew his thoughts and feelings. I could do that film. So, I immediately said: It immediately sparked passionately. The first intention, as the book was going through its adaptation, was to do a live-action film.

They ended up doing it over in animation. So it was in animation for many years, off the shelf and on the shelf again, and back off the shelf. But this particular script added the time travel and the orphan element, those things that really bring the story to life and give it something unique.

At our time when anything is possible in live-action, what potential did you see in that script that suggested it needed to be done in animation?

These really larger than life ideas that Bill Joyce put into his books, characters, really, with all their pushed quality. Those are the kind of characters that you want to create in animation. In live-action, they would be just people in costumes. You made your debut as a director on Meet the Robinsons. What did you learn from this experience from a technical point of view? The biggest challenge on a technical level in making the film for me was bringing human characters to life.

We were always asking ourselves in terms of animation, in terms of the look of the characters, skin textures, hair, all that kind of things.

We kept asking ourselves: But we could also go to far the other way: We knew that if they were too real, sometimes you can go so real that something is unreal after a while and they can look very robotic, puppet-like, mannequin-like, but not like real flesh-and-blood people. And you also loose the ability to bring out that emotion in the characters again. So we just really wanted to walk the balance between those two, between cartoony and realistic and find the right balance.

You still have a really clear shape language, a caricature to them, non-realism; but at the same time, the skin texture feels real, you feel the muscles and the bones in their design, the hair texture feels like real hair, not there to ground you in reality because the shape language that we used to design the characters keeps it away from being a literal reality.

So, to me, from a technical standpoint, that was a big challenge for us in making the movie. And what did you learn from the human point of view through that experience?

Before I make a decision, I would tend to plan, and plan, and plan, make a schedule and over-plan any decision before I actually make the leap. We were pressed for time constantly. There were so many times when we just had to make a leap, to just do something. I had to just put something out there. To me, it was really a process of getting over that fear of failure.

Like the movie talks about, my over-planning was a product of not wanting to make the wrong decision and ultimately fail. I wanted to try to make sure that if I planned everything out at the beginning, there is no way to stumble. There is no way you can avoid failure. You just have to embrace that. You mentioned the difficulties in animating human characters in computer animation.

Nothing, to me, struck the right balance that you need in order to tell a feature-length story like we were trying to tell. So I was kind of skeptical that it was possible on a computer. The Incredibles, then made myself and our whole crew believe that was possible. The shape language is pushed, there is a real, clear, definite sense of caricature to those characters. How did you build you animation crew?

That was pretty easy because we have got just fantastically talented animators and supervising animators as well. Some of them have supervised on Chicken Little. They have already been in that situation and they have leadership skills as well as animation skills to do this.

meet the robinsons singing frogs in mud

We were so fortunate to have the kind of animation team we have at Disney. It was fun with Nick Ranieri, for instance.

Ranking: Every Disney Song From Worst to Best | Consequence of Sound

He tends to do the villains or the more cynical, comedic kind of characters and we though it would be interesting to cast against that with Nick and have him do a character that is very grounded, with a more emotional core and see what happens with that. To let Nick explore different sides of him as an animator.

meet the robinsons singing frogs in mud

And I could not be happier with what Nick did. He amazed me every day with his leadership on the rest of the crew and with his own animation, what he did with the character, what he took it over.

He really understood balance; he really understood that his character was the very Disney emotional core the movie. So he did not go too far in terms of being cartoony or in terms of the type of behavior that Lewis exhibits on screen.

meet the robinsons singing frogs in mud

The Bowler Hat Guy or the Robinsons are the ones that have to be extreme characters. He never tried to make Lewis a showier character than he should be. For some of the animators, it was their introduction to animating with the computer.

It was certainly a learning experience for a lot of people who were very skilled in the hand-drawn world and had never worked on this type of film before. But it was an interesting mix of people because we also had people that were very skilled in the computer animation world but more in the visual effects side of things, not really in the character animation way. So we kind of had them learn the notion of personality animation.

They had never really done that in animating creatures or dinosaurs or things like that. They understood animation but it was the personality, the acting that we needed to work on. So we had a lot of different backgrounds and people with different experiences in our team. It was an interesting combination of all that.

We brought all those people together and just talked about that. We just did a lot of stuff together as a group and everybody believed in the project so much and wanted to bring these characters to life. There was some passion about doing that. They just rallied together and did it, you know. It was an amazing experience to get to work with the crew.