Pixar’s next film is Coco.

We’ve been chatting to its producer and co-director, after watching some footage from the movie… Maybe I shouldnt even explain why its calledCoco.

To start with, I thought wed get into the wonderful animation of the films many skeleton characters.

Can you tell me the rules that limited how the skeletons were designed and animated?

Were going to see some characters both with and without flesh on their bones…

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Adrian Molina:Yes.

So would the skulls fit inside the living heads?

AM:I think… in fact… yes.

In… in most cases.

AM:We take a few liberties.

Just in pursuit of appeal, a little bit of extra character?

you could just give me a wink if theres anything worth looking out for.

Thats obviously not quite the case with the characters in this film.

What sort of thinking did you do about how the skulls do and dont move?

How can you explain the degree of plasticity in them?

AM:The animators and the designers thought really long and hard about this.

He always talks about that.

Is that how he phrases it?

DA:Yeah, from back in the day, starting withLuxo.

In the living you want some fleshiness, you want the squash and stretch.

Its almost imperceptible but it serves to give the feeling.

You say a little trick but lets get down to the nitty gritty.

AM:It comes down to spacing in the animation.

It is about clicking is it, isnt it?

That expresses it so well.

AM:Like when you stretch your back, or click your joints.

That motif also appears, say, on the head of the guitar.

What does it mean, other than just being Dia de los Muertos, so skulls.

Its a world made-up of skeletons.

Its a celebration, a time families come together and its really exciting.

They might have a long trip back.

DA:There might be a delay.

AM:They can make a day of it.

AM:I came into the position first by way of writing.

I worked with Lee and Darla onToy Story 3previously so I knew we all have a great relationship.

But there came a part where certain story challenges like on every film become a tricky web.

I became somebody who could provide a lot of solutions for him to plug in and use.

Its been a great process.

Darla, I dont mean to neglect you.

DA:Dont even worry.

Ive not been there, Im just told thats how it works.

DA:Thats correct.

Obviously, Darla, youre closer to the project than most people who might contribute ideas.

So what has your best contribution been?

Its not an easy task.

I presume that at this stage youre locked on what the story is?

AM:Were in the home stretch now… so yes.

What was the last big change you made?

AM:I think… yes… we revamped a number of sections but the opening came along later.

I get where he comes from, I get what his family is like.

DA:Its a really different way to initiate the film, even visually.

I got the idea, but it was a little frustrating to see it only as storyboards today.

DA:I know, I know.

Are you announcing credits for the songwriters yet?

Are they all original songs?

The finished film will be along for UK viewers in January of next year.