Natürlich macht sich Pablos auch modernere Techniken zunutze, ohne dabei den Charakter des Zeichentrickfilms zu verraten. Klaus und Jesper. "Klaus": Wo der Weihnachsmann wirklich herkommt. von Sarah Kohlberger. Wie entstand eigentlich der Weihnachtsmann? In seinem ersten eigenen. Zwei eigens produzierte Weihnachtsfilme hat Netflix dieses Jahr bereits unters Volk gebracht, nun geht es mit Klaus nahtlos weiter. Wobei der.
„Klaus“ bei NetflixVerantwortlich für „Klaus“ sind einerseits Netflix (der Streamingdienst stieg mit einem größeren Geldbetrag in den schon seit in Entwicklung. "Klaus": Wo der Weihnachsmann wirklich herkommt. von Sarah Kohlberger. Wie entstand eigentlich der Weihnachtsmann? In seinem ersten eigenen. Natürlich macht sich Pablos auch modernere Techniken zunutze, ohne dabei den Charakter des Zeichentrickfilms zu verraten. Klaus und Jesper.
Netflix Klaus It's Nice That Newsletters VideoKLAUS, SEBUAH FILM YANG PENUH DENGAN KEBAIKAN
Olivia Wilde and Zoe Lister-Jones interview each other about their Sundance film How It Ends. When Jesper Jason Schwartzman distinguishes himself as the postal academy's worst student, he is stationed on a frozen island above the Arctic Circle, where the feuding locals hardly exchange words let alone letters.
Simmons , a mysterious carpenter who lives alone in a cabin full of handmade toys. These unlikely friendships return laughter to Smeerensburg, forging a new legacy of generous neighbors, magical lore and stockings hung by the chimney with care.
An animated Christmas comedy directed by Despicable Me co-creator Sergio Pablos, KLAUS co-stars Rashida Jones, Jason Schwartzman and JK Simmons. Written by Netflix.
One of the sweetest, emotional and best Animated film of the year. Netflix please keep bringing us movies with great script such as this.
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Then there are transportive efforts like The Polar Express , which sweep us up in their magic and beauty, allowing our imaginations to roam free for a while.
There has been a lot of hype about the recently released Last Christmas , but if we had to offer up one prediction, it would have to be the spellbinding Klaus.
It tells the story of a postman who befriends a toymaker — to put it simply. The film is perfect for the whole family, but it feels much mature than other seasonal efforts, dealing with themes of loss that will be sure to encourage tears in most viewers.
What brought you back to hand-drawn? I think I just was looking for a chance to find the right film and the right support to make it.
I do believe there are projects that lend themselves more to certain meetings. So whenever I have an idea, I would develop it into like at least a storyline.
And the answer often times is CGI. But then sometimes the answer is actually no, you know what? This would be better made in live action.
And then every now and then you have an idea that you go, Oh, you know what actually 2D would be perfect for this.
That was the case with Klaus. Klaus was the right moment for it. I do realize it puts so much more strain on studios. And then you know what the road is ahead.
So I understand that. But as a creator myself, I need to be challenged each time. And we need those. Because films like Secret of Kells or Long Way North or The Red Turtle are incredible films and I love them.
We need to have those films, but they only have so much reach with audiences. They reach a very specialized audience entirely. So, how do you bring high end 2D back to the front lines essentially is my question.
Klaus seems like a good opportunity to do that. But I also was keenly aware that when Disney they tried to revive 2D animation, their angle was to lean heavily on nostalgia.
I set out to demolish some of the technical limitations as much as we can. The goal was to keep all that was great about 2D but replace what was not necessarily a choice but a limitation.
So it would feel old but new somehow. The film has been causing quite a stir in the animation community in the run-up to its release due to this new method, mainly because every frame of the film looks like concept artwork, beautifully handcrafted in ink and paint, with the characters and background scenery apparently seamless.
Just put that on the screen. Things tend to standardise. With Klaus we wanted the final picture to feel like development art in motion. SPA Sergio Pablos Animation Studios made this happen by adding a new step to the traditional animation process.
Production for Klaus followed a traditional 2D animation pipeline, starting with rough sketches, which are cleaned up before adding ink and paint.
So we had to develop tools that allowed us to do that. We took that imperfection, which is always in the drawing, to how we light the characters.
Handmade means not perfect. Recruiting animators for Klaus proved challenging due to it being a pioneering technical approach, so SPA sent out tests for potential animators to do.
Together with the hand-drawn and painted artwork, the lighting is what gives this film its unique aesthetic. The film follows Jesper, a spoilt rich kid voiced by Jason Schwartzman living in an opulent mansion, doing nothing for anyone but himself.
His father runs the postal service, and to teach him the value of money and hard work, ships him off to set up a post office in Smeerensburg, a lawless, ramshackle town in remote Northern Scandinavia.
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