Going Down the Rabbit Hole with Ken Ralston
KR: I've never done anything like this. It's really a hodgepodge of tricks, basically, and not just haphazardly thrown in. Everything is designed very specifically, and as we started to figure out what all the different characters were and what we could do to make them interesting and maintain as much of our actors in the shots as we could, we wanted to blend them into this CG world. And with our animated characters, we walked a tightrope to keep it feeling like it's all happening immediately.
BD: And you had such a great assortment of iconic characters to animate, including the White Rabbit, the Cheshire Cat, the Blue Caterpillar, the Bandersnatch and the Jabberwocky. What was it like figuring out how cartoony or not to go with them?
BD: And it's all about scale and perspective. What was that like?
KR: We wanted to make it matter of fact when she falls into this world and changes size. And making it believable the way she relates to these characters. And the Tweedles, which are half-animated, with Matt Lucas' face sort of put in there. What do we do to make that work? I like how we shot it, too, to keep the energy working between all the actors so we weren't shooting separate elements [all the time]. I hate breaking things up.
BD: How did you handle enlarging the heads?
KR: We shot large heads with a 4K camera [the Dalsa Evolution] so we had a high-resolution image to blow stuff up and not lose quality, like VistaVision in the old days. It gave us the opportunity to enlarge Helena Bonham Carter's head, enlarge Mia [Wasikowska's] when she's eight-and-a-half feet tall. Depending on what scale the Tweedles were, we had to enlarge Matt's face on some of the wide shots.
BD: Any noteworthy R&D?