All the things that computer animation does great, were doing the opposite.
Theres like all this technology and were really holding back.
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Take Krauts role as a camera staging artist.
Not so inThe Peanuts Movie.
Definitely no Dutch angles!
Youve got to put oil in the joints again and relax about moving things again.
Did Kraut find those self-imposed limitations frustrating while working onPeanuts?
Im not kidding you, when I first heard about this, I really hated it.
I thought Im a cinematographer, I dont want tonotmove the camera.
To start with, I tried really hard to.
We only had to do it for ninety minutes!
Schulzs versatility within such strict limitationsfour square ink-drawn panelswas an inspiration toThe Peanuts Movieteam.
Director Steve Martino tells me, Schulz was a master at creating emotion with a minimalist set of tools.
You get all the emotion.
When we do those little ink-drops, it comes down to how you shape them.
I think thats beautiful but its challenging to have a go at recreate.
So you have to do all this extra work to make it seem simple, flat.
So Ive always lived by that mantra.
I think its a wonderful lesson.
These characters have the proportions of like, infants, but theyre eight or nine years old.
So I remember playing around with moving the Peanuts characters with that aesthetic and with more infant-like movements.
There were some successful things about it, but it started to look a little too real.
Ive always thought of Charlie Brown as some kind of superhero, he answers.
The guy gets beaten downevery single timeand he just bounces right back up.
Hes the epitome of optimism.
What I like about these characters is that theyre honest about it.
It moves towards an honesty about who people are.
Charlie Browns not pretending to be macho.
I guess thats why so many people can identify with him, because they recognise that in themselves.
I fumble when I talk to a girl and I fall and thats me.
And thats Charlie Brown!
