All language subtitles for 14 - Character and identification III.eng

Finally, we can see a little

how was the process of creation
of the character Petit.

A little borrowed in principle
because it's a book by Isol Misenta

adapted by Bernadette Ojeda.

In this project I was not
in the design process of the character,

but I was more
in the psychological design of the character.

But I can give an account
of what Bernadette did

because she passed me her sketches.

The character in the book is this

and the characteristics of the character
that we knew is

who is a sensitive child,
who is enthusiastic,

who never gives up,
who is curious, attracts him the new thing,

who thinks in the short term
and lives the present all the time.

His center of power is the head
and he is stubborn.

We also know that he is a boy
of about five years, six years old,

who is finishing
the preschool stage.

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What Bernadette told me
is that she started

with a version
a little more cartoon of Petit.

Because the book, as we see,
is a pretty special drawing.

Notice that in the box
on the left and the one on the right

Petit is drawn in line,

but there is a good character behind,
in a kind of rabbit,

and the other there is a kind of wolf.

Then maybe that was difficult
to translate into animation.

In an editorial work it is beautiful

and Isol has
a very particular aesthetic,

but it would have to be seen,
or Bernadette had to see,

how to adapt this type of drawing
so special to an animation.

So, apparently Bernadette
started with this type of design,

which is a little simpler,
still has the spirit of Petit,

but it seems a character
a little bit more commercial.

Little by little Bernadette was encouraged

to incorporate the spirit
of Isol's character.

To be a little less symmetrical,
a little more sloppy,

a little more faithful
to this initial idea that Isol has,

a little more imperfect
with these colors running of the line

and this is the final aesthetic of Petit.

Still having
the same palette of the book,

is still imperfect
in some way.

Bernadette worked
with the supervision of Isol

and the truth is that the work she did

in relation to the construction
of the characters and the art

is like the best synthesis
or the best adaptation

we could have
from Isol's book to the screen.

Creating characters is a lot of fun

and there is a little trick

for the public to engage
with our character or identify themselves.

Many times you have to see
with the wrong thing.

This identification usually
happens in the first part.

Maybe it's in the introduction
where we present the character

or in the first minutes,
if it's a short film or a feature film.

But there is a little pact that is made
with the viewer or with the spectator

and then we are saying:
"My character is like you,

grab him by the hand
throughout the whole narration. "

Maybe you do not do exactly
what the character,

but that little wink

is for the person
you're seeing to say:

"Oh, well, this character is like I,
I want him to succeed,

I want him to do well,

I'm going to accompany him
until the end of the narrative

and I'm going to be bloated for that character ".

But what happens, for example,
in "The Godfather" or "Breaking Bad"?

or in any other fiction
where we do not completely share

the moral or moral values
of the characters

and yet
we feel very identified.

Many times the fact
that the character or the protagonist

has a way of life
or different customs to ours,

that does not mean that we
do not go to empathize with them

because there is always
something deep in that link

that is going to make us want
that character to do well.

I'm going to give you an example with Zamba.

Zamba gets bored all the time
and Zamba runs away from the teacher.

was strange that a program
of the Ministry of Education

in an educational channel

proposes that a child escape
from a field trip.

All the teachers were going to find us
saying that we encouraged

that the children would escape
from the excursions.

Luckily it did not happen,

but what happened
was that the boys and girls

identified with the character

because the character
was bored in the classroom

and he was looking for the experience
and learning for himself.

So what we did was

that instead of the boys and girls
traveling to the past,

which is absolutely impossible,

as they identify with Zamba
travel by transitive character.

So they travel with Zamba

and he experiences things
that they would like them to work.

This is how identification works.

One lives things through
of the characters that are like one,

otherwise, one is not going to let go.

So my recommendation is
to create empathic characters,

a little bit wrong,
and to be so kind

as to take the hand
to viewers or viewers

throughout the narrative.

In the next lesson

we will see what is
that universe that surrounds the character,

where that character will live

and how we will build

an aesthetic proposal
for our folder

to finish
to close the project.