Graphics Reference
In-Depth Information
Q: You had some interesting copyright issues when it came to
designing some of the elements of
Hedge
that, I think, beginning
storytellers wouldn't consider. Could you talk about those
considerations a little bit?
Kathy:
You have to be really careful when you're working on a fi lm that's set in a
contemporary environment. Any product you use in your fi lm that's recognizable from
real life has to be carefully examined for possible copyright infringements. Any product
you design or logo you make cannot bear any resemblance to the real product without
fi rst clearing it from the manufacturers themselves. In addition, any spoof of an existing
product also has to be considered.
For example, we had girls in
Over the Hedge
delivering cookies door to door. Of
course, these were originally meant to be Girl Scouts, but the Girl Scouts of America
had objections to what we had “their” girls do in the fi lm, basically smash a squirrel
with a Girl Scout Handbook. Of course, this is a cartoon, and no squirrel was really
hurt—but we completely understood their concern and went about designing our own
fake girls' organization, the Trail Guide Gals. Every last detail of the Trail Guide Gals
had to be passed through legal for clearance—the color and style of their uniform, their
logo, the design of the handbook, the type of bow they had at their neck, even the
name itself.
Q: Where does this type of thing come into play for young animators?
Kathy:
In any creative undertaking, we all strive to be as original as possible. In doing
so, it's really important to be aware of and respect copyright and trademark laws. Being
a student or young professional does NOT exclude you from responsibility to this, so
be aware that all of your work should be truly original and unique to you.
Closing: What are the important things to remember when designing
a fi lm?
Kendal Cronkhite:
One of the most important things is that you're a fi lmmaker; you're
not just an illustrator or a painter. So how a fi lm turns out on the screen is the most
important thing. Learn the process, and immerse yourself in the fi lmmaking. Learn about
camera and camera composition, line and shape, space and light, and how it all comes
together to create a strong cinematic point of view.
When you decide on a visual point of view for a fi lm, the best way to get it across is
to be consistent through every aspect of it, from the character design to the design of
the world to every element that goes into that world, and it should work with the story
and the tone of the story.
