![]() ![]() But the blurred beauty of the background also conveys the limits of Luca's undersea world, foreshadowing his journey to see more of the larger world.Ĭharacter designs also take cues from the story: Luca’s large eyes and smoother fins reflect his gentleness and curiosity his grandmother’s long, curly tail shows how the sea monsters age, growing to look more like the iconic images in the antique maps. “Luca,” with its vibrant blues and greens, is inspired by the deep waters off the Ligurian coast. And this plays out in the environment as well as the characters. Story and art always work together in films, especially in animated films - as much as the art and design is informed by the story, the story is informed by the art. That's why we have all of the irregular scaling and the curlicues in the tails and the iridescence.” So it was really important to me that they stay beautiful. ![]() “We'd see them carved into fountains - always as a decorative element. “When we went to Italy, we would see mosaicked into the floor,” she said. But even more important than developing a unique look, Marsigliese said, was staying true to the fact that, no matter how fierce and dangerous they might seem, sea monsters have always been considered decorative. These non-obvious references include Japanese block prints, scientific illustrations and a lot of folk art from around the world. In order to do that, you need to look outside of the obvious.” “We wanted to design something unique that maybe this audience has never seen before. There are “lots of medieval depictions of sea monsters in folklore, but you can't just stop there,” said Marsigliese. In developing the look of these sea creatures, character art director Deanna Marsigliese started at the beginning, with Carta Marina, Olaus Magnus' famous 16th century map of Northern Europe. Above the surface (and without the drama of an Ursulan bargain) the two change until they look just like humans they eventually venture into the nearby town of Portorosso. He befriends Alberto ( Jack Dylan Grazer), a fellow sea monster who pushes him out of the water for the first time. But 13-year-old Luca ( Jacob Tremblay) is still very curious. To them, the creatures above the surface, with their boats and nets, are the (land) monsters. In “Luca,” the sea monsters live in their own underwater farming community, hidden away from humans. In Italy," he continued, "there's an old legend of Colapesce, about a boy that stays so much in the water, he becomes half fish.” “I love Japanese folklore - there's the foxes that can look like humans, and the tanuki. “There's so many changelings in folklore,” he said during a recent video call. ![]() The more whimsical element of the film - sea monsters - grew from Casarosa's fascination with changelings. Like his Oscar-nominated short film "La Luna," Casarosa's debut feature, “Luca,” draws on his childhood in Genoa, a port city on the Italian Riviera, as well as the director's memories of his childhood best friend. For director and storyboard artist Enrico Casarosa, part of the fun of developing ideas at Pixar, where he has worked since 2012, is figuring out how to blend the personal with the fantastical. ![]()
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