Meet the Robinsons Movie Quotes
“Meet the Robinsons” Awakens Walt Disney's Spirit and Offers Wisdom for Robinsons is poignantly concluded with the following quote from Walt himself: We keep moving forward, opening up new doors and doing new. Great memorable quotes and script exchanges from the Meet the Robinsons movie Meet the Robinsons is a computer-animated family film produced by Walt Disney Pictures about a . Why would his motto be 'keep moving forward ?'. The film ends with a great quote from Walt Disney himself: We keep moving forward, opening up new doors and doing new things and.
Wilbur asks Lewis to fix the time machine, but Lewis has another condition: Wilbur has to take him to visit his mother afterwards. Reluctantly, Wilbur agrees and hides Lewis in the garage.
Lewis does not stay there for long, however, and ends up meeting the rest of the Robinson family except for Cornelius, Wilbur's father, who is away on a business trip. The Robinsons offer to adopt Lewis, but change their mind when they learn that he is from the past. Wilbur admits to lying to Lewis about taking him back to see his mom, causing Lewis to run off in disgust. Lewis then discovers that Cornelius Robinson is, in fact, a future version of himself, and Wilbur is his future son.
Because he was kept awake by Lewis' work on the scanner, Goob fell asleep during an important Little League game and failed to make an important catch that cost the game. Goob became so bitter as a result that he was never adopted and remained in the orphanage long after it closed.
Doris is "DOR", one of Lewis' failed and abandoned inventions. They both blamed Lewis for their misfortunes and decided to ruin his career by stealing the memory scanner and claiming credit for it. Leaving Lewis behind, they take off with the scanner, drastically altering the future to a world where Doris' clones have enslaved humanity.
Lewis repairs the second time machine, confronts Doris and destroys her by promising to never invent her, restoring the future to its Utopian self. After persuasion from Lewis, Wilbur tries to ask the adult Goob to join the family, but he has disappeared, apparently ashamed at what he has done.
After six months of boarding the movie and putting them up on reels, production began in with a crew of Given Joyce's retro style -- influenced by everything from Technicolor movies to '40s architectural design -- Anderson and his design team looked for dramatic contrasts to depict the present and future.
According to art director Robh Ruppel, who studied, among other things, the way cinematographers Vittorio Storaro Reds and Caleb Deschanel The Natural handle period looks, the philosophy could be summed up thusly: Every time he thinks about the past, every time he gets further from his answer, we pull more color out.
Every time we go into the past, we pull most of the blues and the higher saturated colors out. The present is in between those worlds, color wise: In the shape design, we tried to keep the present day very boxy and square. Everything's on a grid, everything's a little repetitive, everything's a little busy.
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So that when you go to the future, the view is unobstructed, the building shapes are very curved. There's pleasantness to it. It's just one big giant factory. We talked a lot about Apple products: Soft, happy, puffy clouds, blue skies and bubbles. The Incredibles was a definite inspiration for this.
It was eye-popping to me, and certainly part of my education in 3D and how to do character animation with all of its subtleties.
We looked at a lot of Warner Bros.
Alice in Wonderland, Cinderella and Peter Pan were Disney inspirations as far as combining believable characters with much more caricatured ones in the same scenes. In the future, things move a little bit faster and are quirkier and more off beat, with characters that can zip around like Warner Bros.
It creates shadows based on the proximity of one object to another. It's a way to avoid that glowy feel that computer animation has or the way mouths look like they're illuminated from inside.
Occlusion, because it's a closed space in there, will darken that mouth immediately. Then when we add our texture and lighting on top of that, you have a bit more real look to the images you're creating. It took a while because I'm so used to how you create the impression of space in 2D: In 3D, it's still an impression, it's still an illusion, but it's that much greater.
What is the texture of a certain character or a certain building material? I never would think of those things. That really opened up a whole new world for me. So I went from impressionistic thinking to realistic thinking. Because our movie got off and running so quickly, it was a matter of me getting thrown into it and watching what everyone was doing.
They would ask me questions like: My education was leaning on people around me and relying on them. The rig was based on Chicken Little, but departed somewhat with an automated rig setup that allowed them to churn out a number of rigs that the rigging department wouldn't have to build from scratch.
These base set templates allowed certain blend shapes to be spread across a similar topology on different types of rig structures. After Shock is a dynamics tool built off of Maya's tool that allowed them to calculate speed, velocity and direction of, say, Lewis' head turning. And the animator could dial in the amount of drag and resistance and to spit that out basically for free.
Celebrate 10 Years of Meet the Robinsons with These Walt Disney Quotes - D23
We could then bake it out and then simplify the baking out so that the animator could use every bit of it or hand-tweak [what they don't like] themselves, or run a simulation on that part if they like. Just ways to speed things up and give them more time for the performance, because that's where Steve and I really wanted to focus. That's why he hired assistants to deal with wrinkles and interpenetrations of characters. With Lewis, you get much more grounded, traditional Disney animation, classic Peter Pan, strong anticipation, nice round arcs, whereas the future with Wilbur is much snappier, to look at characters like Daffy Duck, where you get into a one-frame pose, very sharp, very abrasive in their nature.
We had a nice time playing with those two worlds in animation. With Bowler Hat Guy, he fits into both nicely, and we really had a lot of deformers within the rig to bend him around until he gets nice S shapes, say, in his arm or his spine to really distort him, not that you're reading that distortion, but in fast movements, it's a very snake-like quality.
That is the hardest stuff to do in animation -- it isn't just moving the character from point A to point B.