“There’s a certain tweeness to how people see stop-motion sometimes that works with the world of NPR. The fact that our characters are these puppets with fragile bodies and big heads controlled by forces outside of their consciousness just fit.”
“You would not think that that scene would be difficult because it’s all one shot. For an editor, you would think, oh, she could just put her feet up for half a day. It didn’t work like that. Here’s what happened…”
“With Guy, a comfortable gentleman is somebody who can walk around in a suit and feel very assertive and at ease.”
“I couldn’t rent a sofa or a chair there. I had to buy it since we’re going to cover it in blood.”
“Guy Ritchie definitely likes to come up with alternate perspectives on everything and turn things on their head.”
“When you see these awful fits and everything doesn’t fit or it’s just put together very haphazardly, that’s consciously done knowing that, well, where is Martha’s state of mind?”
“I love this project so much because it hits all the things that I love to put into scores, which is weird and zany, funky things, just fun textures and layers that’s not always melody.”
“We always knew that the sun set right behind the mountains in front of Hiro.”
“I think audiences want the score to tell you things that isn’t on screen. It does not just react to what’s there, but tells the story in a parallel way.”
“When Ted and John pass a bong back and forth, you have to have a little bit of a handoff from a real prop to a digital one when Ted grabs it. We try to overlap that as much as we can, so that it’s seamless, but the artists do such a great job with the water simmering in the bong and the smoke.”