Pixar’s animators have a history of achieving impressive feats, making characters and textures feel more authentic in increasingly complex ways. (That flowing hair! Those scenarios😉 But how would they portray jazz?
With “soul”Streaming on disney +), The challenge was to improve the emotional and improvisational qualities of music in a small room through a technical process. While a lot of animation has gotten a jazz feeling over the years, “Soul” shows up in detail to create a musician right next to the piano keys. And Pixar knew many eyes, especially jazz musicians, who were investigating its work.
movie Joe Gardner (voiced by Jamie Foxx), a school band teacher by day, follows a talented but unsuccessful jazz pianist by night (and always). He struggles to get the jigsaw, but as he sits on the piano, he is moved, his tension dissipated and his obsession with each note emerges.
Pixar filmmakers, known for their attention to detail – in “cars”, the motor sounds of each vehicle came from the same engine of the same model – knew that capturing the fundamentals of jazz performance was in collaboration with jazz artists Would not be possible without
“We wanted to make sure that if this guy is going to become a jazz musician, he should know the clubs and the back story,” the film’s director Pete Docker said in a video interview. He and his team visited clubs in New York to get a better understanding. “We’ll just go up and talk to the musicians and ask them where did you study?” he said. “How did you get here? What other work do you have? And really tried to get out of the world of those characters.”
He also consulted with many marquee musicians, including Herbie Hancock, jazz drummer Terry Lynn Carrington and Questlove (who also did voice work).
Pixar also brought on board John batisteBand-player and music director on “Late Show with Stephen Colbert”. He created original compositions that do onscreen. Battiste recorded music with the band in a New York studio, and Doktor captured those sessions with multiple cameras. “We set, like, 80 GoPros everywhere,” Docter said. He then studied the video to animate the scene and get a more accurate picture.
Doktor said the animators exaggerated some of the movements in Joe’s game for visual effects, but “in terms of hitting the posture and the right notes, it was important for us to make sure it felt genuinely authentic.”
With the video, they were able to digitally save the notes that were being played. That digital stream can be reverse-programmed into an animation that acts almost like a player piano signaling the animators that are being played with each note. So when you see Joe on the piano, he is playing exactly the same note that you are listening to.
In recording sessions, Docter said, his way of directing the batist was the same as how he directs the actors: he avoided giving specific line readings or input on the music, and instead tried to portray a picture , So that the Batiste can understand the mood of the scene. .
“All I can say is, ‘You know that feeling when you’re playing and the world just disappears and you wake up and three hours have passed? Doktor said,” The film needs To-do baitists will adjust their composition during the session. “Glad to see her working,” said Doktor. “It was like having a private concert.”
Batiste said he felt a connection with Docter in making these scenes – “Pete is an healer and a philosopher,” he said by email – and he was happy to see the care with which Black treated music was going.
Doktor grew up playing music. Two sisters are professional musicians and their parents are music teachers. This made it easy to align with the film’s musical passion. And on his team, he said, people who were animating a specific instrument either had experience playing that instrument or had a strong appreciation for it.
Which, in all its complexity, is brought to life in three ways: through the vocal performance of Foxx; Character design and movement; And the compositions and performances of Batiste. Those close-up shots of Zoya’s hands in motion depict the pianist’s appealing style of play – so much so that Batista felt bad when he saw those moments onscreen.
“My hands are central to my life,” he said. “When I saw my essence I came into Zoya’s life. It is an honor as part of my creative heritage. “