In the meantime, these working within the animation trade can at present watch Mum Is Pouring Rain, which has certified for subsequent 12 months’s animated shorts Oscar, on the streaming platform The Animation Showcase — see here for extra info.
Cartoon Brew: What are you able to say concerning the tales of the following two specials? Will the three specials seamlessly kind one narrative, or will the characteristic play extra like an anthology movie, with three distinct chapters?
Ivan Zuber and Antoine Liétout: The characteristic movie is not going to be an prolonged model of Mum Is Pouring Rain. The 2 different elements can be sequels, with separate matters however the identical characters. They’ll work as separate items for television if vital, however the timeline can be revered all through the three tales and there can be some steady parts to hyperlink the three chapters collectively.
Like the primary story, the 2 new ones can even sort out matters which might be hardly ever introduced to kids, with the identical mix of poetry, humor, and seriousness. The second chapter can be about discovering a spot in society and can be centered across the character of Cloclo, a kind of outcast who lives in a hut within the forest. The third and closing chapter, with Granny Onion because the central aspect, will cope with the matter of legacy and transmission in a household’s reminiscence.
In your final interview with us, you talked about that you simply had been pondering of mixing MIPR and two different specials right into a characteristic. Does that imply Hugo had already give you the following two tales again then?
Again then, it was a really theoretical thought, as a result of we felt that there have been lots of parts within the unique story that deserved additional growth and time. However Hugo had no particular story in thoughts. As a matter of reality, he wasn’t positive in any respect that he would need to proceed writing within the MIPR world after ending the unique movie.
The deal between us producers and Hugo was at all times this: if there’s a actual purpose to make one thing extra out of those characters and this world, if new concepts and tales naturally emerge, then we’ll give it a shot. However we at all times agreed we wouldn’t make an opportunistic sequel based mostly on the success of the primary movie.
So Hugo took his time, we talked lots, and we lastly determined, months after the primary movie had wrapped up, that we’d finally write two new chapters.
At what stage of growth are the 2 specials?
Now we have a three-page condensed story for every movie, and we plan to have a therapy earlier than the top of November, then transfer on to a screenplay in early 2022. We’ve acquired first growth financing that’s going to permit us to maneuver ahead, and we’ve had lots of talks concerning the tales already, so we all know the place we’re going.
The themes, temper, and central parts of each movies are clear, and now Hugo and his co-writers (Lison d’Andréa for the primary movie, and probably a further co-writer) should construct the total tales round them. We’re holding visible growth for later, so we are able to give attention to the writing solely.
At what stage are your talks with Canal+?
Now we have an excellent relationship to Canal+ on this venture, which they’ve been very supportive of for the reason that starting. We talked about the thought of creating two different movies when it was simply an thought, they usually inspired us in that course. They’ve learn the story parts of their present model and confirmed their sturdy curiosity in coming onboard.
Will the visible strategy be the identical as for MIPR? Will you’re employed with a much bigger crew this time?
Sure, the visible model can be just like the one you’ve seen in Mum Is Pouring Rain. The backgrounds can have the identical Hugo de Faucompret contact, and pre-existing characters can have the identical design as within the unique movie. This can even enable us to attain a way of unity within the three movies and have them work totally as a characteristic. Hugo says he would like to attempt to push issues even additional by way of visible atmospheres and animation.
The crew will in all probability be a bit larger as a result of, for apparent monetary and sensible causes, we’ll make each movies on the identical time. The primary movie was a monetary guess, with all of the financing used to create the movie and no margin in any respect, which was an exciting however harmful expertise. For Hugo’s sake (he completed most of the backgrounds himself) and ours, the 2 new movies have to be made extra “moderately.”
Nonetheless, we actually need to maintain it sufficiently small that the power of the primary movie nonetheless runs by way of the crew. These movies cope with matters that require kindness, love, open-mindedness, and we too usually see movies made in a working ambiance that could be very totally different from the values that their tales are presupposed to convey. So it issues to us that the work ambiance be respectful and type, and that’s more durable to attain when the groups are too huge.
We actually want to maintain as many members as doable from the unique crew, and that additionally applies to our companions and co-producers (Dandelooo can even be becoming a member of forces with us). Nonetheless, we can be on the lookout for worldwide co-producers and companions too, to finish the financing plan.
Watch the trailer for the unique “Mum Is Pouring Rain”:
Why did you resolve a characteristic movie was the best course to take the world of MIPR in, versus, say, a sequence?
The thought of a sequence by no means actually crossed our minds, though we are able to see that this could have been essentially the most strategic possibility, in monetary phrases.
We actually wished to decide on the format that made most sense, and it feels to Hugo and us like stretching MIPR in extra sequence episodes could be synthetic. Typically, we expect that pushing tales into a selected format with no inventive justification ends in weaker items.
Additionally in our case, the visible ambition of Hugo’s designs is of course destined for film theaters. The primary movie was produced with Les Movies du Préau as a French distributor, and it was meant for theaters from the beginning.
Ivan Zuber and Antoine Liétout’s solutions had been despatched by e-mail. Picture at high: growth art work for the sequels.