Issue link: http://digital.copcomm.com/i/747534
P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 6 75 His images focus on the subject and drop away just beyond into a beautiful out-of-focus space. This technique brought a real miniature feel to the Troll world. It also added a certain unexpected beauty. The imagery switches to a deep-focus camera when the Bergens arrive in the scene. This way, the audience feels something has dramatically changed in the story, and it enhances the scale difference. We use it in reverse when Bridget befriends the Trolls; she comes down into the Troll macro photography, into the Trolls' way of being in the world. She's with them and understands them, a story point enhanced with the macro cinematography. The 1970s were embraced in the special effects as well. Inspired by the cheesy effects in '70s movies like Xanadu, we use glowing colored auras and sparkles everywhere. We also use unique fiber effects like Troll hair fire, fabric smoke, felted rocks and fiber dust. There are also crazy fantasy sequences in the movie. Poppy imagines everything as a scrapbook. A collage of a Teen Beat-style magazine is the inspiration for Bridget's fantasies about the king, and King Gristle imagines his roller-skating date like the airbrushed side of a van, again enhancing the quirky tone of the story. Nothing is too nutty for this movie. In fact, there was nothing crazy I could suggest for a scene that directors Mike Mitchell and Walt Dohrn wouldn't seriously consider. The usual response was, "Oh yeah, we're doin' that!" Working on this film felt like pure creative freedom. It was a joyous ride from beginning to end. The fun in the making of the film emulated the tone of the film. The whole crew felt it and embraced this crazy ride with all of us. When you design a production, you have no way of knowing—at the beginning at least—if your initial concept is going to work in the long run. A lot can happen over three years of production. Scripts change, characters change, even the actors change. I think that the entire Art Department knew all along that we were onto something special, and as we neared the end and could see that Troll-like light at the end of the tunnel, we knew that we'd never done anything like this before. It's an example of the crazy art of filmmaking mirroring the zany story. We tried to create a beautiful and unique world, and it became one we loved and could probably work another year on...but three will have to suffice. ADG Above: A set of generic Bergens are featured in this digital character development sketch by Craig Kellman. Center: At the end of the fi lm, Poppy has taught the Bergens about love and how to be truly happy. Below: DJ Stage bug creature development sketch by Art Director Timothy Lamb. Bottom: Forest creature development sketches, also drawn by Mr. Lamb.