In the meantime, these working within the animation trade can at present watch Mum Is Pouring Rain, which has certified for subsequent yr’s animated shorts Oscar, on the streaming platform The Animation Showcase — see here for extra data.
Cartoon Brew: What are you able to say in regards to the tales of the following two specials? Will the three specials seamlessly kind one narrative, or will the characteristic play extra like an anthology movie, with three distinct chapters?
Ivan Zuber and Antoine Liétout: The characteristic movie won’t be an prolonged model of Mum Is Pouring Rain. The 2 different components will likely be sequels, with separate matters however the identical characters. They’ll work as separate items for television if obligatory, however the timeline will likely be revered all through the three tales and there will likely be some steady components to hyperlink the three chapters collectively.
Like the primary story, the 2 new ones may also sort out matters which can be not often introduced to kids, with the identical mix of poetry, humor, and seriousness. The second chapter will likely be about discovering a spot in society and will likely be centered across the character of Cloclo, a kind of outcast who lives in a hut within the forest. The third and last chapter, with Granny Onion because the central factor, will take care of the matter of legacy and transmission in a household’s reminiscence.
In your final interview with us, you talked about that you just had been considering of mixing MIPR and two different specials right into a characteristic. Does that imply Hugo had already give you the following two tales again then?
Again then, it was a really theoretical thought, as a result of we felt that there have been a number of components within the unique story that deserved additional improvement and time. However Hugo had no particular story in thoughts. As a matter of truth, he wasn’t positive in any respect that he would wish to proceed writing within the MIPR world after ending the unique movie.
The deal between us producers and Hugo was at all times this: if there’s a actual purpose to make one thing extra out of those characters and this world, if new concepts and tales naturally emerge, then we’ll give it a shot. However we at all times agreed we wouldn’t make an opportunistic sequel primarily based on the success of the primary movie.
So Hugo took his time, we talked so much, and we lastly determined, months after the primary movie had wrapped up, that we might finally write two new chapters.
At what stage of improvement are the 2 specials?
We’ve got a three-page condensed story for every movie, and we plan to have a remedy earlier than the top of November, then transfer on to a screenplay in early 2022. We’ve obtained first improvement financing that’s going to permit us to maneuver ahead, and we’ve had a number of talks in regards to the tales already, so we all know the place we’re going.
The themes, temper, and central components of each movies are clear, and now Hugo and his co-writers (Lison d’Andréa for the primary movie, and probably a further co-writer) should construct the complete tales round them. We’re maintaining visible improvement for later, so we will deal with the writing solely.
At what stage are your talks with Canal+?
We’ve got an excellent relationship to Canal+ on this challenge, which they’ve been very supportive of because the starting. We talked about the thought of creating two different movies when it was simply an thought, they usually inspired us in that path. They’ve learn the story components of their present model and confirmed their robust curiosity in coming onboard.
Will the visible method be the identical as for MIPR? Will you’re employed with an even bigger crew this time?
Sure, the visible model will likely be much like the one you’ve seen in Mum Is Pouring Rain. The backgrounds can have the identical Hugo de Faucompret contact, and pre-existing characters can have the identical design as within the unique movie. This may also permit us to realize a way of unity within the three movies and have them work totally as a characteristic. Hugo says he would like to attempt to push issues even additional by way of visible atmospheres and animation.
The crew will most likely be a bit greater as a result of, for apparent monetary and sensible causes, we’ll make each movies on the similar time. The primary movie was a monetary wager, with all of the financing used to create the movie and no margin in any respect, which was an exciting however harmful expertise. For Hugo’s sake (he completed most of the backgrounds himself) and ours, the 2 new movies should be made extra “moderately.”
Nevertheless, we actually wish to hold it sufficiently small that the vitality of the primary movie nonetheless runs by way of the crew. These movies take care of matters that require kindness, love, open-mindedness, and we too usually see movies made in a working ambiance that could be very totally different from the values that their tales are speculated to convey. So it issues to us that the work ambiance be respectful and type, and that’s tougher to realize when the groups are too huge.
We actually want to hold as many members as potential from the unique crew, and that additionally applies to our companions and co-producers (Dandelooo may also be becoming a member of forces with us). Nevertheless, we will likely be on the lookout for worldwide co-producers and companions too, to finish the financing plan.
Watch the trailer for the unique “Mum Is Pouring Rain”:
The trailer for the unique Mum Is Pouring Rain
Why did you determine a characteristic movie was the proper path to take the world of MIPR in, versus, say, a sequence?
The concept of a sequence by no means actually crossed our minds, though we will see that this could have been essentially the most strategic possibility, in monetary phrases.
We actually wished to decide on the format that made most sense, and it feels to Hugo and us like stretching MIPR in further sequence episodes can be synthetic. Typically, we expect that pushing tales into a particular format with no inventive justification ends in weaker items.
Additionally in our case, the visible ambition of Hugo’s designs is of course destined for film theaters. The primary movie was produced with Les Movies du Préau as a French distributor, and it was meant for theaters from the beginning.
Ivan Zuber and Antoine Liétout’s solutions had been despatched by electronic mail. Picture at high: improvement paintings for the sequels.
