It’s balance, to leave room for them to discuss and make the best decision, but at the same time, keep them on track.Ĭould you expand on the core ideas behind the film that inform its scenarios and its unique imagery? Greco:Me and my partner, Felipe Sabino-the other executive producer of the film-we like to work as creative producers, so it’s important for us that we mediate this creative conflict from the production point of view. If nobody agreed, I’d say, “Okay, it’s going to be this way,” and I think it was a smart choice. I’m also the producer of the film, so I had veto power in the end. It’s so collective, but we got organized in a way that we wouldn’t get stuck. Steinberg:What I found beautiful about this whole process is how much input you get from animators and other departments. Gustavo, coming from live-action, what was it like collaborating with two co-directors, and so many other key creative heads? But I think we were really happy with the one that we chose because everybody that jumped into the project, they jumped with their heart, and gave all they could. We had our own crew, so we came up with different production designs, and production plans for this. We decided to go for an animation studio, Split Studio, that took care of pre-production, end production, animation and backgrounds. I already had the story and the script from the beginning of the investments, and he had a lot of experience with the previous film, and with animation before.ĭaniel Greco:We had the option of building up our own crew, or going to an animation studio. It was Rio 2096: A Story of Love and Fury, and we got together soon after. He was presenting the first Brazilian feature that was selected for the competition, and they ended up winning Annecy that year. I have to learn about animation,” and people told me, “You have to go to Annecy.” So, I went there and talked to a lot of people. When I started raising money for the film, the first investment that I got, I said, “Okay. I said, “This is good for the story that I have.” I met Daniel the first time I went to Annecy. I basically invited the other two directors because I had seen some shorts they made. Daniel is the executive producer, but he’s also the story editor. We have three directors-of course, we take care of different things-and also we have two animation directors, two art directors and a lot of input from the crew. Steinberg: This film was a very collective effort. How did you come together with Daniel and the rest of your team to make this project happen? “We decided that before he was even a candidate, and then he got to be the president and we were like, ‘I guess we are talking about the right things.’”įor the director, an assessment of the current political and social climate was even more urgent due to another factor: “extreme right wing president” Jai Bolsonaro, just recently elected in the country he calls home. Because one of the big inspirations for the villain of the film was Donald Trump,” Steinberg shares. “We started eight years ago, and a lot of things have happened since then that have somehow reinforced that we were looking in the right direction.
#Shout factory series#
As far as engaging with adults, Steinberg felt confident, watching an ongoing series of real-world events that only supported his vision, and the need to bring it to life. Meeting with children throughout the development process to assess how the project could connect, while cultivating the film’s entertainment value as an “engaging adventure,” Steinberg and his co-directors-André Catoto and Gabriel Bitar-found the solutions they were after. Mourning Loss Of Paint-And-Paper Anime, 'Mirai' Director Attempts Animated First With Four-Year-Old Protagonist Shout! Factory Seeing the world falling ever further into a demented, chaotic spiral since beginning development years ago, Steinberg hoped that “the message of the film could speak at least to the hearts of kids, who are probably our best hope out of this loop.” “The idea was to tell a story to kids about this culture of fear that is brought by the media, by the social networks, this new kind of fear that is emerging in the world,” the director says, sitting down with executive producer Daniel Greco. Seeking a cure for the contagion in birds-creatures of mythological weight, which have quietly observed human life since the dawn of time-young protagonist Tito discovers that the salve may well exist within himself. Based in a dystopian city that looks a lot like São Paulo-but could really be any metropolis- Shout! Factory’s Brazilian Oscar entry watches as the world is overcome by a disease of fear. With Tito and the Birds, his first animated feature, Gustavo Steinberg took on the most timely and complex of themes, striving to make them accessible to children.
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