It opened my eyes to animation as filmmaking, not ‘just’ animation. I learned to embrace the limitations rather than be turned off by them. “When I started directing, I had to figure out where could the camera go, what shot follows what shot. His first encounter with the “Corpse Bride” sets was “inspirational.” The physical sets and the puppets were a new world. That’s ambitious, but it challenged Butler and his team of 450 in ways they liked. “Missing Link” took five years of work, including two years of production. LAIKA’S FIFTH FILM IS MISSING LINK Hugh Jackman, Zoe Saldana, and Zach Galifianakis star in our most ambitious film to date - a rip-roaring, globetrotting comedy adventure. The other half is much less likable and rather dull. Link or Susan, is a funny, lovable creation brought to sympathetic life via a great vocal performance by Zack Galifianakis. If you want a suit to look like wool, you have to find a fabric for that in miniature - and real wool probably won’t work.” One of half of the pair, the sasquatch known as either Mr. Deborah is always finding fabrics that have the correct scale on camera. “People who work on costume in stop motion are not just designing things that look good, they’re engineering geniuses. And when Lionel is running, that suit is flapping behind him, so the suit needs an engineered wire mesh, which allows the animator to adjust it frame by frame. If you’re designing Sir Lionel’s jacket in ‘Missing Link,’ it’s a beautiful suit and has to fit on a little body that’s out of proportion.
That costume has to function one frame at a time. “Missing Link” marks her fourth job as a costume designer for Laika films.īutler sings her praises, saying “Designing costumes for stop-motion, it’s not just designing an aesthetic, you’re engineering it as well. He worked on the 2005 “Corpse Bride,” where he met Deborah Cook, a puppet modeler. You have all these departments - costume people, carpentry department - they’re all working together.” “As a storyboard artist, it’s basically just you at your desk. If we went smaller than 13 inches, we couldn’t have achieved all the mechanics we need for a complex performance.”īutler began in 2D animation on such fare as “Tarzan 2” and “The Tigger Movie,” fulfilling a dream of working for Disney. You don’t want the puppet too big, or it becomes unmanageable but it’s hard to get smaller, since you have mechanics that go inside the head, to get the eyelids to blink, the face to move. “If it’s bigger than that, it becomes a wrestling match for the animator.
“Lionel is 13 inches, which is the optimum size for a puppet,” says Butler.
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