11/9/2022 0 Comments Room on the broom movie![]() ![]() On The Gruffalo projects, the sets were twice as big. One thing we changed for Room on the Broom was the scale of the sets. Because Studio Soi had worked on The Gruffalo, they had a great team and great knowledge of stop-motion and the way we wanted to make this film. In pre-production, I worked in London with Max for a couple of weeks. Max worked in London and I worked in Stuttgart. JL: One of the interesting things about this project is that Max and I worked in different cities. ![]() I’ve known them for a long time.ĭS: So tell me about this production. JL: I started doing work at Studio Soi in 2004 as an intern. Jakub who you know, who I worked with on The Gruffalo, he was my teacher at Film Akademie and is one of the principals at Studio Soi. The production though was done in Ludwigsburg. We had a really small team early on, just Jan, myself and a couple of artists. There were six months of pre-production and 12 months of production. #ROOM ON THE BROOM MOVIE HOW TO#Then we started storyboarding immediately to get into the details of how to tell the story.ĭS: All told, how long did this project take? We basically used the script to get agreement between the studio and the producers on what direction we wanted to take the film. We worked from there, moving into storyboarding as quickly as we could. ML: Julia wrote the first version of the script. From there we went into pre-production, working on many different versions of the storyboard, beginning work on the designs.ĭS: Did you go right from book to storyboard or was there a script stage in-between? I think it was May 2011 when Max showed me the first beat board. It’s such a nice story and I could picture the film in my mind immediately. Max showed me the book in Stuttgart and from the start, I was enthusiastic to work on the project. Jan Lachauer: This was my first film after finishing my studies. Once we determined we could make it work, I asked Jan if he wanted to direct with me. I’m not even sure if they’d secured the rights at that point, but I started working to see what we could do with this book, what type of direction we could take. I was asked if I could do a beat board and work with Julia on the script. At that time it had been discussed a bit that this might be the next book adaptation Magic Light would produce. ML: I had worked with Michael, Martin and Studio Soi on The Gruffalo. Like on these first two films, the sets were built and the animation was done at Studio Soi.ĭS: Where did you come into the project? Had the producers already done any visual development or scripting for the book adaptation? The film is produced by Magic Light Pictures, who did The Gruffalo and The Gruffalo’s Child. So when Magic Light had the idea of adapting Julia Donaldson and Axel Scheffler’s book, we were both really were excited at the opportunity to show what we could do as a team. #ROOM ON THE BROOM MOVIE PROFESSIONAL#We’d always planned on doing professional work together. We either co-directed or helped each other on all our student films. Max Lang: Jan and I met in 2005 when we started studying at the Filmakademie in Ludwigsburg. I recently spoke to Max and Jan about the film, their creative process, the challenges of staying true to a beloved children’s book being adapted to animation and how they achieve such a rich, beautiful hand-made look.ĭan Sarto: So how did the two of you come to work on this film? It is only after the menagerie bands together to save the witch from a dragon that they all learn the value of sharing and working as a team. ![]() The 25 minute Christmas special tells the story of a witch, whose cat become more and more annoyed as they share their increasingly tighter flying broomstick seating space with an assortment of animals picked up as they journey about. In addition to having just captured a BAFTA Children’s Award for Best Animation, Room on the Broom also has been shortlisted for a nomination in this year’s animated short Oscar category. Now, Max Lang is back, this time teamed with film school buddy Jan Lachauer, to tackle another classic Donaldson and Scheffler tale, Room on the Broom. That was followed up by The Gruffalo’s Child (2011) directed by Johannes Weiland and Uwe Heidschotter, also a successful British Christmas special. Their first effort, The Gruffalo (2009), a hugely popular British Christmas special directed by Jakob Schuh and Max Lang, was nominated for an Oscar. ![]() So when it comes to adapting the children’s books of famed authors Julia Donaldson and Axel Scheffler, UK producers Martin Pope and Michael Rose have trusted German animation studio Studio Soi’s unique production style to bring the classic stories to the screen. There’s something to be said for not messing with success. ![]()
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