![]() ![]() But the one between Annie and Dean is kind of obvious, in terms of how it works into the story. Ken Duncan: Actually, there’s a bit of abstraction in the Iron Giant’s dream sequence, and I think Brad cool with that. They were important to Brad for the story in the first place, so he’s getting the film to where he wanted it to be 15 years ago.Ĭartoon Brew: How do they fit into the wider arc of the story, or the characters themselves? ![]() It’s not like someone thought of these cool new ideas to add into the film after the fact. The cool thing is that when Brad launched us, he would talk to us about why they were boarded in the first place, and how they should work into the story. Those were the two sequences that we did. And the way they were boarded back then, because they didn’t have a lot of time or money, was to try and put as much information into the storyboard as possible. There were also a couple others which were storyboarded, that Brad felt would make the story stronger if they were in the film. In an earlier DVD release of the film, there was some supplemental material featuring several sequences that were never finished, but we didn’t do those. And there is another one involving the Iron Giant’s dream, where you find out some more information about as well.Ĭartoon Brew: These were previously existing scenes that didn’t make the film? Ken Duncan: I would love to, but all I can tell you is that there is a sequence between Dean and Annie, which is very short but adds an extra dimension to their characters. ![]() Ken Duncan: I think it around March, was around March to July.Ĭartoon Brew: Is there anything you can tell Cartoon Brew about the new scenes? We had a couple people here at the studio who had worked on the original, but we had to bring in a few more.Ĭartoon Brew: How long ago did this project bubble up? Everything worked out, so we put together a crew. On a future call, we were told that Brad for sure was going to be involved, and in fact would be directing them. Upon reflection, I thought that I wouldn’t do it if he wasn’t there was no way I would do them, if he didn’t want them to be done. Then he mentioned that there were two sequences that were to be added to The Iron Giant, and were we interested in it, and I said, “Of course!” I was kind of taken aback by it, so I hung up without asking if Brad Bird was involved. Ken Duncan: A producer at WB called us one day and asked us if we still did that old-fashioned hand-drawn animation, and I said we did. It’s pretty awesome, especially to work with Brad Bird. Who would’ve thought? I enjoyed the film when I first saw it, and I never thought I’d be part of it so many years later. I spoke with Duncan by phone about how his studio’s work on The Iron Giant: Signature Edition came to pass, and why hand-drawn animation, after years of laboring beneath CG’s towering shadow, is on the comeback trail.Ĭartoon Brew: Congratulations on being part of a timeless classic. “Beyond the fact that Ken Duncan himself is a brilliant animator, his staff was blessed with several veterans of the original Iron Giant team, which helped immeasurably in our effort to have the new scenes blend in seamlessly with our original footage.” “When the opportunity arose to produce new scenes originally planned for The Iron Giant, my first thought was Duncan Studio,” said Bird in a press statement. Duncan and Suave joined Annie’s supervising animator Wendy Perdue, effects animator Michel Gagné, original background department head Dennis Venizelos, animator Sandro Cleuzo, and a crew of about 20 in upgrading The Iron Giant for its signature edition iteration. Duncan also worked with veterans of the original film, including some - like animation supervisor Chris Sauve, who reprised his role animating Dean and brought his original model sheets for the job - who have been working with Duncan Studio for years. ![]()
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