Nathan Greno & Byron Howard Talk Tangled
NG: After a while, some of these animation sessions were turning into therapy sessions. You walk out of there and you're so exhausted talking about your experiences, but the way Byron and I approached this movie is that it's a world we created and these are characters that popped out of our heads, but in order to make the movie work, the world has to be believable and those characters need to be relatable, and so we took our own experiences and the crew's experience and we put that into the movie to better engage the audience.
BD: In terms of 3-D, I really think the lantern sequence justifies it. What was the importance?
BH: When one of our story artists pitched that idea of doing this lantern ceremony, we thought it would be perfect for CG, so it was always in our heads. So to see it finally done after all the layers and layers and layers of work that had to make that happen. To be able to reach out and almost grab the lanterns is incredible to us.
BD: One of the best analogies was by Megamind director Tom McGrath, who said it makes you a better voyeur.
BH: That's true -- it really gets you into the movie more. And you can't find a better example for why this movie is in 3-D than that lantern sequence. It's this moment she's had in her head for 18 years; she's finally there and surrounded by this and she's got all these new emotions and her world has completely opened up and you're right there with her and see all of it right in front of you.
Bill Desowitz is senior editor of AWN & VFXWorld.