:35:01
Lots of animators in those scenes
with the whole crew.
:35:06
We try in an animated film...
:35:07
to let a lead animator and their team
stick to one character...
:35:12
so that there's consistency.
:35:14
So sometimes when you see a shot like
one of these last ones...
:35:17
with 10 people in it,
there might be 10 animators involved.
:35:20
The moon-to-moon dissolve, my favorite.
:35:28
- Proteus, come quickly.
- What?
:35:30
There's a ship waiting in the harbor.
:35:32
A crew of my most trusted officers
will take you far from Syracuse.
:35:36
This is a really important scene
between Dymas and Proteus.
:35:39
And it gives us some sense
of the history between...
:35:42
the king, who we really tried to play
as much as possible, as a father...
:35:46
and his son.
:35:47
The king here, willing to subvert
his royal power...
:35:51
and sneak his son out of the world
simply because he doesn't trust Sinbad.
:35:56
One of the things
Raymond and team worked on...
:35:59
is the sense of not just colors
of the film, but the light and dark of the film.
:36:03
And we really were bold
compared to a lot of animation...
:36:06
in letting some scenes get aggressive...
:36:09
with the light and dark like this scene is.
:36:12
Yeah, the way Dymas' shadow crept up...
:36:15
to Proteus, challenging him,
and then here Proteus walking away.
:36:19
Then in contrast,
we go to this bright tropical island.
:36:23
So we're really trying to tell the story
by using that sense of light and dark.
:36:28
That's not an island.
:36:33
The more upset that Sinbad gets,
the more I think you like him.
:36:39
- The more he falls apart.
- Yeah, losing control.
:36:46
- The crew doesn't help him out at all.
- They're spying here in the background.
:36:49
Just trying to listen to Mom and Dad fight.
:36:53
Where do you think you're going?
:36:55
And Sinbad knows he's lost it
when he's got his whole crew on her side.