Save this article to read it later.
Find this story in your accountsSaved for Latersection.
Troubles afoot in Old Blighty.
Back in the real world beyondMary Poppins Returns,however, its not quite so simple.
Theyve all but gotten dreaming down to a science.
Over the arduous, year-and-a-half production process, they realized they could split the difference by using innovationforemulation.
So Marshall went right to the source, rounding up stalwarts from the heyday of hand-drawn techniques.
It was a few of the most exciting, scary days of my life.
By the time production shifted into full gear, the artists number totaled upward of 100.
Walt Disney couldve walked into the studio and felt very comfortable around everyone using flipbooks and paper.
Together, they formed a giant, well-oiled machine with lots of moving parts.
I got some of the best, shortest dancers I could find.
We rehearsed that for many, many weeks.
Then we would take them out, and Emily would imagine where the penguins would be.
Wed shoot the green-screens of the cast, and have sort of proxy sets, says Johnson.
The biggest hurdle turned out to be mobility.
It was hugely complicated to reconcile these disparate elements.
All of the costumes in that sequence are hand-painted and outlined so that they blend into the animated world.
But there are no tiers!
They were just painted on to look like it.
Lin-Manuel is wearing a tie, but there is no tie there.
It was just hand-painted on to a shirt, as were the buttons.
Its all hand-painted design.
We learned a lot because we learned from each other, recounts Marshall.
I learned from the animators.
And Lin adjusts, and I realize were all occupying the same world.
He continues: As far as I can say, this is musical filmmaking at its finest.
Its about everyone working together, all in conjunction to create this one sequence.
Thats what musicals are to me one huge collaboration.
