Canadian Oscar-winning filmmaker draws from childhood for Elio, a tale about lonely boy's search for life in the universe
Domee Shi may have signed on to co-direct the new Pixar Animation Studios movie, Elio, about halfway through its lengthy production schedule, but it didn't take her long to identify with the film's protagonist.
Article content
Shi, who currently lives in California but spent most of her life in Toronto, co-directed the animated film with Madeline Sharafian after original director Adrian Molina amicably left the production to work on Pixar's Coco 2. (Shi, Sharafian and Molina are all credited as co-directors.)
Article content
Article content
As both a creative vice-president for Pixar and a fan of Molina's work, Shi had been following the production ever since it was first pitched in 2020.
Article content
Article content
But it was well underway and the concept well-established by the time Shi officially signed on. Still, she felt a real kinship with the film's titular character, a young boy whose dream of being whisked away to another planet comes true, and he is introduced to the Communiverse, a benevolent interplanetary organization with representatives from galaxies far and wide.
Article content
'With every project I'm on, I try to connect with and identify with the main character in some way,' says Shi in a Zoom interview with Postmedia. 'I have to find my way into the main character. For Elio, it definitely was that loneliness and desperation to belong that I drew from my own childhood and teenhood, just feeling like the only kid in school who liked anime and people not understanding why I liked these Japanese cartoons with big eyes and wacky expressions. I was like, 'No, it's not just that! It's because they are very deep characters with rich stories and arcs.'
Article content
Article content
'Being obsessed with going to animation school, being obsessed with being accepted there, I think that obsession and need to find my people is what I infused into the character of Elio. When he gets abducted and witnesses the Communiverse for the first time, that was definitely my feeling when I first stepped foot into Sheridan College. I finally got into the animation program there and got to meet fellow nerds like myself. That was such an amazing feeling.'
Article content
Article content
Like all of Pixar's creations, Elio presents a wondrous, imaginative world full of offbeat characters and warm humour. But there is also a sadness underlying the film and its main character. Elio, voiced by 14-year-old actor Yonas Kibrea, is a lonely 11-year-old whose desperation to be abducted by aliens seems to be driven by a need to know he isn't alone in the universe. After his parents die, he is taken in by his Aunt Olga (voiced by Zoe Saldana), who becomes his loving but occasionally overwhelmed caregiver. A respected Air Force officer, Olga has to deal with her troubled nephew and his single-minded obsession with contacting aliens while reining in her career ambitions. Elio doesn't feel like he belongs in her world, and also has nagging guilt over the possibility that his unexpected arrival in her life has disrupted Olga's life plans.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
CBC
2 days ago
- CBC
Did 'bean mouth' really kill Pixar's Elio at the box office?
Social Sharing Why did Pixar's Elio put up the worst numbers in the studio's history in its opening weekend? The reasons professionals give for the sci-fi family movie's paltry $35 million US global box-office earning vary. But if you ask the internet, there's a far simpler issue at play. "Nobody wants the bean mouth style of character design," wrote one reader when commenting on a post-mortem of Elio 's bombing by the website Cartoon Brew. "It feels lazy, overused, and unoriginal." "The 3D CalArts 'bean mouth' style also just put a lot of people off," read a post on a Reddit thread about Elio 's failure. "Doesn't matter how good the story is, many people hate that animation style." The bean-mouth criticism is an opinion about Elio that's echoed across virtually every platform that allows comments: a one-to-one connection between character design and the audience's decision to stay home. More than that, it's become synonymous with an almost vitriolic hatred for a particular and supposedly ubiquitous art style. Animation journalist John Maher calls it a "pejorative and insult" that far outstrips the style's reach and misunderstands its origin. "It is a reflexive internet criticism," said Maher, the news director for Publishers Weekly. "People found a term that was snappy and catchy and easy to use. And so they hung onto it." Where bean mouth began The terms "CalArts style," "bean mouth" and "thin-line animation," all have different origins and meanings, but they all generally refer to a drawing technique exemplified by thin line-work, simplified features and bean-shaped mouths and heads. When it comes to how the "CalArts style" name came to be — Maher and others often point to Ren & Stimpy creator John Kricfalusi. Starting in the early 2000s, Kricfalusi wrote blog posts criticizing a particular style of art and derivative mentality he believed came out of the California Institute of the Arts — an influential arts and animation school founded by Walt Disney and his brother, Roy, in 1961. His criticisms were pointedly about the style championed by Disney, then copied to diminishing returns — including in movies like Treasure Planet and The Iron Giant. Though the animation in those movies looks nothing like what most people today think of as the CalArts style, the name stuck. And as many graduates of the school became associated with shows and movies that shared a similar bean-mouth design — including Elio, which has a pair of CalArts alumni listed as directors — the two names came to describe a common gripe. "That phrase has become a shorthand for a more fair criticism. Which frankly is: 'Animation as innovation rather than animation as imitation,' " Maher said. "But to call it all CalArts is just so silly and reductive and inaccurate — just fundamentally inaccurate." When asked if CalArts teaches the style, or even observes it in common use among students, Maija Burnett, the school's director of the Character Animation Program, says that's not the case. "Luckily, I can definitely dispel that," she said. "The results of the work from our program is extremely diverse. And so I do not think it typifies what comes from our programs at all." She also says it's unlikely that Pixar chose that animation style because it's cheaper, noting that the studio does most of its animation in-house, developed over years through huge teams, so they wouldn't need to default to any particular style an outside studio would find easier to work with. It's hard to say how pervasive the style is among Pixar movies. Typically only Luca, Turning Red and Elio have received the "bean-mouth" criticism. But Burnett says what people are likely identifying is an intentional technique studios employ. "Often, we can kind of tell like, 'Oh, yeah that seems like it's coming from Sony,' " she said, noting it's natural that Pixar would have a recognizable style because it's important to them both as a brand and as a studio. She says there's also likely a reason certain elements of the style are more widely used today. TV series, for example, often rely on animation techniques that work with contemporary technologies — such as the 1920s "rubber-hose" style of Felix the Cat, the "flash" animation of the early 2000s seen in Canada's 6teen, or the simplified "limited animation" style of Hanna-Barbera, the studio behind The Flintstones that essentially birthed a movement of low-budget animation in the '60s and '70s. As animation techniques progress, Burnett says they'll likely change again to fall in line with new technologies. She also notes that every art form and industry has eras where the output shares similar characteristics: from cubist paintings, to art deco architecture, to postmodern literature. The idea that the bean-mouth style is somehow more pervasive today might be related to nostalgia, she says, noting that the CalArts style was first identified around the time that social media became popular, making it one of the first animation trends to be subject to wider internet scrutiny. Finding like minds to discuss the art you grew up with gives people something to bond over, she says, and so does being able to name and shame the style that seemingly replaced it. Other issues plaguing Elio But box-office analyst Paul Dergarabedian says the look of animated movies is rarely the most important factor in ticket sales, making it unlikely that's what sank Elio. "To me, that's a non-starter," he said, pointing to the Oscar-winning film Flow — animated with the free, open-source software Blender — as an example of how story trumps animation techniques. "That, to me, is like grasping at straws to find a reason that the movie didn't do it." The more likely culprits, he says, include the movie's minimal marketing, its PG rating and a lack of franchise tie-ins. And the more competitive landscape for original stories makes the market for animated movies vastly more challenging than when Pixar's Monsters Inc. or the first three Toy Story movies premiered. Maher agrees, and says the idea that fans suddenly abandoned Pixar over an animation technique is more depressing than believable. "That has nothing to do with thinking that it's like, a lesser work of art because of the shape of the character's mouth. Give me a break," he said. "If that's really what we are condemning art for at this point — we don't like the style so we're not even going to bother to understand the substance — we're in trouble."
Winnipeg Free Press
2 days ago
- Winnipeg Free Press
Kenzo brings mischief back to Paris' iconic Maxim's with a riot of color and clash
PARIS (AP) — Few Paris addresses conjure myth quite like Maxim's, the gilded Belle Époque haunt where artists and aristocrats once jostled for a seat at dinner, and a place immortalized in Cole Porter's lyrics and classic Hollywood films as the very symbol of Parisian chic. On Friday night, at Paris Fashion Week the renowned restaurant-turned-nightclub became the improbable stage for Kenzo's latest co-ed show — a riot of pop color, celebrity and cultural collision served tableside. Guests perched around white tablecloths as Nigo, the first Japanese designer to helm Kenzo since the late, great Kenzo Takada, set out to prove the house can still surprise. What unfolded was a knowingly playful mash-up of preppy classics and off-kilter eveningwear: eye-popping pink dresses loosely gathered and knotted, each one tossed with a Left Bank silk scarf; a slinky tuxedo jacket paired with a blaring urban-printed tee in wild color, topped with a cartoon bunny in intentional clash. Think cocktail hour by way of Shibuya street style. Tongue-in-cheek references ran rampant — a circus master's striped waistcoat here, sheeny tiger-motif pants there, all nodding to Kenzo's signature mix of high craft and subcultural wink. If the goal was to recapture the house's historic sense of fun, Nigo went all in. While the creativity on display was undeniable, the sheer abundance of ideas sometimes made it hard for a single vision to shine through. With so many bold references and layers echoing recent seasons' spirit of collaboration and eclecticism, the collection sometimes felt more like a lively collage than a focused statement. Still, there were moments where the craftsmanship and playful accessories truly stood out, offering glimpses of the distinct Kenzo spirit that Nigo has made his own. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. Since joining Kenzo, Nigo has brought a fresh spirit of collaboration and cross-cultural exchange, most visibly in his headline-grabbing work with Pharrell Williams at Louis Vuitton and his frequent partnerships with artists from across the globe. That outward-looking energy has helped pull Kenzo back into the pop-culture conversation, blending the house's playful legacy with new momentum. As part of the LVMH stable, Kenzo now enjoys the reach and resources of the world's largest luxury group, giving Nigo freedom to experiment, push boundaries and reawaken the brand's irreverent roots. It was a night that nodded to both past and future. After a string of worn years under the previous design duo, Kenzo seems determined to shake off old dust and reclaim its seat at Paris' most storied table. The show at Maxim's — equal parts fashion circus and cultural memory — was a reminder that Paris style is best served with a wink, a clash and more than a little mischief.
Winnipeg Free Press
3 days ago
- Winnipeg Free Press
Chef Nobu serves his famous miso cod with a side of inspiration in a new documentary
NEW YORK (AP) — World-famous chef Nobuyuki Matsuhisa has been tantalizing foodies for decades as he built his empire to include more than 50 upscale restaurants and several luxury hotels. The new documentary, 'Nobu,' reveals the man behind the cuisine in an intimate look at how he found success, despite several major setbacks. The film traces Matsuhisa's journey to creating his unique fusion cuisine, blending traditional Japanese dishes with ingredients discovered while living in Peru. Matsuhisa, now 76, was driven to run his own restaurant but faced obstacles, including financial woes, doubters and a devastating fire at one of his first spots. Candid and sometimes emotional interviews with Matsuhisa are interspersed with mouthwatering shots of his 'Nobu-style' culinary treats, made with a precision and standard of excellence his diners have come to expect. 'Nobu' releases widely July 2. Director Matt Tyrnauer and the chef himself sat down with The Associated Press to discuss his perseverance, creativity and influence on the culture. Answers have been edited for clarity and brevity. AP: One of the most dynamic things about the film is the gorgeous food. How did you approach it, Matt? TYRNAUER: Nobu started as a graphic designer, and you can really see it in the plates. The totality of his vision for creating a new type of cuisine, which he calls 'Nobu style,' or the signature dishes, was really interesting, but also the beauty of the presentation, which is so important. We had cameras everywhere — on the ceiling, we had them over the shoulder, and anything to kind of get the precision and the detail. At a certain point in the film, you see him correcting some of the chefs who work for him and it's a pretty tough process because he's a perfectionist. I wanted to show that. AP: There are many difficult moments in the film and you have to relive some pain from your past. How was that process for you Chef Nobu? MATSUHISA: Even though my life was pain, but I learned from this pain. Also I learned lots and lots of love from people who supported me. So nothing is losing, in my experience. I'd like to say, at my age, I can say, I did my life. AP: Matt, were there any surprises when you were shooting the film? TYRNAUER: When he broke down on camera and couldn't stop crying, it was a big surprise. I didn't understand the true wound of the loss of Nobu's best friend, Sakai. I've interviewed a lot of people. I've never had anyone really be so emotional. I thought it was extraordinary and very beautiful, actually, and very honest. Nobu invited me to go see the grave of his dear friend who had taken his own life and the pain and the suffering that we see on camera is unexpected in a movie that you think is just going to be about great food and the artistry of being a chef. There's a soulfulness to it. ___ If you or someone you know needs help, the national suicide and crisis lifeline in the U.S. is available by calling or texting 988. There is also an online chat at ___ AP: Your world travel helped you develop your Nobu style. You're still traveling and visiting restaurants. Can you talk about that? MATSUHISA: I made the Nobu corporate teams. These teams that are traveling with me … they stand by at all the locations, and they set up, then they're training for the next generations. The Nobu teams keep growing like a family, and they (are) working there long times so they understand Nobu's quality, philosophy, the passions, how to do service. We have good teams. AP: From 'The Bear' to reality TV, there is high interest in what goes on in restaurant kitchens in pop culture now. Did that play into the film? Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. TYRNAUER: What I wanted to do was show the process and put that on display. Part of the secret to his success is that he's actually created a very civilized culture, and it comes from the top down. I think that's why he goes around the world like he does and visits all these restaurants and trains the chefs personally in his own style. But his own temperament is exemplary. AP: What do you want people to take away from the film? MATSUHISA: I'm very glad because I didn't give up on my life. That's the message. Even (when) the young people has a problem, I like to say, 'Don't give up. Just don't forget about the ambitions, passions and go step by step.' ___ This story has been corrected to report that 'Nobu' releases widely on July 2, not July 1.
