DVDizzy Forum

farerb wrote:Live Q&A with Glen Keane, Peilin Chou and Gennie Rim:
https://youtu.be/Os_AqOOCpdk

farerb wrote:Live Q&A with Glen Keane, Peilin Chou and Gennie Rim:
https://youtu.be/Os_AqOOCpdk

D82 wrote: It seems there were some issues with the stream and they moved it to this other link: https://www.youtube.com/watch?v=s3QgbtriSQM

Rumpelstiltskin wrote:I liked the sharp light on the lunar surface when they were away from Lunaria, and it would have been interesting to see some more of it. But also liked the architecture of the city itself.

It was a little weird that she couldn't tell Fei Fei what the gift was, but if she had, everything would probably have worked out differently. Another thing I didn't understand was why she is in such a hurry. After more than thousand years, why did suddenly every second count?

The moon was a reflection of Fei Fei's own life; the room of sorrow, the tears, moon cakes, the glowing lanterns and buildings, the bird and the goddess' clothes, the lions in front of the bridge, the lake around the city, the annoying Gobi/step brother and the frogs. Which made me suspect it may was all just in her imagination. And in the end when the space dog was eating a satellite or something, it looked even more like just imagination.

If it really happened, everything is fine. If it didn't, then what about her rabbit?

D82 wrote:Personally, I've listened to "Rocket to the Moon" and "Ultraluminary" a lot since they were released, but I was a bit underwhelmed by the rest of the songs and I haven't listen to them much either. They're fine, but not as good as those two, in my opinion. But, yes, "Yours Forever (Reprise)" wasn't bad. It's my favorite of the rest. Though I don't understand why they called it a reprise either. It doesn't seem to have the same melody (or lyrics) as any of the other songs. I also didn't expect the last song would have the same melody as "Rocket to the Moon". I thought it would be a completely new song.

It was a couple weeks later, the pandemic hit and Netflix shut down. I mean, 11:30 in the morning, this was a Thursday and we had deadlines every Friday that we had to hit in order to get this film done. Gennie Rim, my producer, said ‘Glen, we have to clear out of the studio, Netflix is closing, and in half an hour, we were gone, and we still haven’t been back since. This is from the beginning of March into February. The coffee cups are still there with coffee in them, the coats are still on the chairs.

Disney's Divinity wrote:I agree with you and D82 on the confusion over why Chang'e couldn't say what "the gift" was and why she was in a hurry. Thinking about it in retrospect, I think the whole thing is something like a dream, but not as obvious about it as in Alice in Wonderland where Alice realizes she's asleep and then wakes up at the end. But instead more like Spirited Away, where at the end, Chihiro simply walks back through the tunnel to her parents, without it being clear if it really happened or not, but her state of mind was changed in any case. Chang'e's urgency could be read as just a representation of Fei Fei's own internal urgency (to find some way of keeping her father from remarrying) in as much as Chang'e pining for the lost Houyi mirrors Fei Fei's longing for her lost mother. And Chang'e's silence over what "the gift" was--perhaps Fei Fei's confusion over how to piece her imaginary story together (ie, what could Chang'e possibly want from her)? Sort of like a child who's making a story up as it goes along maybe and fills in the gaps with whatever she sees in front of her?

I agree, the missing rabbit is the biggest question mark at the end... I'll try to pay attention when I get the chance to watch the film again, but... Perhaps the viewer could just assume Bungee ran away? Or perhaps that Bungee was an imaginary friend/support animal all along (someone Fei Fei created so that she could talk to fill the void her mother left behind).

Lunaria and the beings there (created from Chang'e's tears--reminds me of how mermaids were sometimes thought to cry pearls) were so beautiful and I also loved what we saw of the moon itself, as Rumpelstiltskin mentioned. The whole thing was gorgeous, despite (what I see as) 3D's limitations, imo.

Something about Fei Fei's first conversation with Chang'e left me with the impression that being visited by a human and given a "gift" (like a sacrifice to a deity?) was a recurring thing for Chang'e that happened every so often, whether it was every lunar cycle or once every year or every few years... And this occurrence was the only way Chang'e could then attempt to reunite with Houyi another time--and every time it was a failed attempt and she was only ever able to see him for a moment, that Chang'e was never able to successfully reach him permanently the way she wanted.

Rumpelstiltskin wrote:Maybe this represent a new way of making animated movies, at least at Netflix, where one can do a lot of work from home instead of a studio. This movie showed it is possible.

Before global broadband internet access, the logistics of sharing data between studios, vendors and freelancers outside of the same city was a logistical nightmare at times. Now for the most part, anything can be sent to anyone, anywhere. Though files and assets in the several TB range are still shipped on drive, I can't imagine that will be the case for too much longer.

It goes without saying that this interconnectedness means more collaboration and communication on a larger scale than ever before. For example, MARZ was founded as a Toronto-based studio and while that is still our home office, technology and COVID-19 have both pushed and freed us to bring on artists working in various cities, to collaborate on projects for clients all around the world. That would have been a much bigger feat just a few years ago.

blackcauldron85 wrote:Chang'e...why did she eat both of the live-forever pills? I wish we had more backstory there (or was it there and I missed it?). When she ate the pills, did she not think that she'll miss her true love? I just don't get that part.

Q: What’s next for you?

Glen Keane: Well, I have a very unique idea that really allows me to pursue storytelling and music and drawing, in a way that’s never been done. It’s an idea that I’ve had with me for a good 35 years. It’s kind of like a Mount Everest I’ve been afraid to ever climb. But maybe now’s a good time to do that. You don’t want to repeat yourself. You want to keep growing, to keep moving towards a level that your feet don’t quite touch the bottom and you’re uncomfortable. You’re a little scared. That’s exactly how I feel right now, and I think I always want to be artistically challenged that way.

While Keane told Deadline recently about a “Mount Everest” type passion project he has in the works, he wasn’t ready to share further details this morning. What he could confirm was that his relationship with Netflix will be ongoing. “Our company, Glen Keane Productions, continues its relationship with Netflix, developing ideas,” he said, “and we have several ideas that we are developing.”

Sotiris wrote:

Q: What’s next for you?

Glen Keane: Well, I have a very unique idea that really allows me to pursue storytelling and music and drawing, in a way that’s never been done. It’s an idea that I’ve had with me for a good 35 years. It’s kind of like a Mount Everest I’ve been afraid to ever climb. But maybe now’s a good time to do that. You don’t want to repeat yourself. You want to keep growing, to keep moving towards a level that your feet don’t quite touch the bottom and you’re uncomfortable. You’re a little scared. That’s exactly how I feel right now, and I think I always want to be artistically challenged that way.

Source: https://deadline.com/2021/02/over-the-m ... 234693925/

Sotiris wrote:

Q: What’s next for you?

Glen Keane: Well, I have a very unique idea that really allows me to pursue storytelling and music and drawing, in a way that’s never been done. It’s an idea that I’ve had with me for a good 35 years. It’s kind of like a Mount Everest I’ve been afraid to ever climb. But maybe now’s a good time to do that. You don’t want to repeat yourself. You want to keep growing, to keep moving towards a level that your feet don’t quite touch the bottom and you’re uncomfortable. You’re a little scared. That’s exactly how I feel right now, and I think I always want to be artistically challenged that way.

Source: https://deadline.com/2021/02/over-the-m ... 234693925/