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"On this film, we took four or five trips to Paris to visit restaurants, we also looked at people we knew to reflect the characters, and the director also had artists that inspired him.
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"One of the first things we do when we design the characters is to go to real life," explains Deamer. We're constantly, constantly drawing."įrom storyboarding, it's on to Jason Deamer and Brian Green (character designer and supervisor, respectively) who slowly bring Remy and co to life. We probably do ten drawings for every one on average - so, 200,000 drawings, or a cool half a million. "And that's finished drawings - the one's Brad liked and thought worked. "We've done about 20,000 drawings since Brad came onto the film," adds Mark Andrews, story supervisor. "Our goal is to get to what's in Brad's head and then hopefully along the way add embellishments to it that he may not have thought of," explains Ted Mathot, story artist. Then there's the process of devising characters, writing the script and deciding on locations, before liaising with story supervisors and artists who start to visualise the film. The ingredients might sound perfect for another Pixar tour-de-force, but assembling them isn't always that easy.įirst comes the idea - re-assembled by Brad (The Incredibles) Bird from Jay Pinklava's original.
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But with the kitchen's bullish head chef on their case and a dastardly food critic ready to stick the knife in, the pair have their work cut out keeping their partnership a secret. The walls here are adorned with artwork showing Ratatouille's hero Remy, a rat with a heightened sense of smell, who teams up with a bumbling garbage boy to realise his dream of working in chef Gusteau's Paris restaurant. Welcome to Pixar studios, home of Woody and Marlin, John Lasseter and Brad Bird birthplace of animated classics such as Toy Story, The Incredibles and now Ratatouille.