sábado, septiembre 24, 2022
InicioTechnologyThe Losers & Blue Beetle Director Talks Shorts

The Losers & Blue Beetle Director Talks Shorts

ComingSoon spoke to director Milo Neuman ahead of release Showcase DC – Constantine: Mystery House on Blu-ray May 3, 2022. Neumann directed both blue beetle and Losers shorts that are in the collection.

Along with the brand new short film «Konstantin», Showcase DC – Constantine: Mystery House there are also three other shorts in the form Kamandi: The last boy on Earth!, Losersand blue beetle. All three have appeared in past DC Universe Movies collections as special features, so they’re not entirely new to fans who might be big fans of the DC animated movie world.

RELATED: DC Showcase – Constantine: House of Secrets Gets Trailer, Release Date

Milo, I know you’ve done a lot of films and TV series as an artist in the past. So what was the biggest challenge in directing and do you feel that your past work as an artist has really helped you as a director?

Milo Neuman: Yeah. I think I’ve described directing as sort of a storyboard artist king. [laughs], you kind of just accompany all the storyboard artists in the process. And usually, especially in animation, they usually take directors from storyboard artists. Usually this is a trajectory. Because, on the other hand, as a storyboard artist, you’re actually kind of an assistant director. For example, you go through a script bit by bit and you think, “This is how it will play, this is the shots we will use, this is how the characters will act. «. I mean, as a storyboard artist, you still make all those decisions, just under the direction of the director.

So yes, being a storyboard artist was definitely important to being a director. The reason I got the directing position at all was because I was working on Mortal Kombat movies with Rick Morales, who was my shorts producer. He just saw that whenever I turn in my sequences, they shouldn’t change too much. Usually the narration worked, sometimes they said, “Oh, we need to cut something,” but usually I got it right. Because of this, they said, «Perhaps you could trust this guy to direct because he has the sensibility for that.»

You have to show real range here with these two shorts and the Blue Beetle has a real throwback feel to it. What led to this choice and style?

So the styles of the shorts were sort of determined before I came. So, when I started working on Blue Beetle, it was like, «Hey, you’re going to make this short and it’ll be in the style of those old sixties superhero cartoons.» And in particular, I think we watched Spider-Man, I think we watched a lot of the old Spider-Man cartoons, the ones that Ralph Bakshi had, you know? [laughs] So we really tried to capture that vibe.

You’re very loose about the humor in Blue Beetle, but it’s not only a homage, it’s a parody of that era. How to draw this line? So you’re not mocking classic cartoons.

Yeah. I mean, I think you rely on people’s love for these cartoons to some extent. I think people like these cartoons, they are very attached to them. So I think if you dig into it and make a little mistake in the animation, it’s something so era-specific that people won’t see it as a joke. I think people will usually see it as a tender homage and laugh because yes, it’s nostalgic, but at the same time it’s pretty funny. Some of these mistakes are funny, and I think for us, I think we had a lot of respect for the fact that what we were making fun of in Blue Beetle was really like people were doing their best in the sixties. because their technology had limitations.

It was hard when you were animating something in the sixties. It was like… you had to take it off and then it had to come out and develop and you wouldn’t even see if it looked good until about a week later. So, it was all speculation about those old cartoons, and they were in such a crisis. The reason they did so much reusable animation was because they didn’t have time. They had to pull these episodes off so quickly. So all these little mistakes and accidents and weird stylistic decisions just happened out of necessity, and it kind of created a style. Maybe partially, accidentally [laughs] and this random style is what we were trying to do on purpose. It was an interesting challenge. But I think people can see that it’s an effort. It’s an effort to try and recreate it and I think people will resonate with it.

Yeah. This is amazing. I love little mistakes, like Blue Beetle talking a little while the other person is talking. You can see how his mouth moves, it’s really fun.

All this had to be done very deliberately.

It stars in Ted Kord’s version of Blue Beetle. It really does look like a character from the Silver Age era and is perfect for the time frame you’re looking for, but what did you find most interesting about him?

I think in the context of our short film, I think it was good that he was something of an honest everyman hero to contrast with The Question, which, again, is so cold, intellectual. [Ayn] Randian weirdo, you know? I think part of the fun was pitting these two against each other, to be honest. Anyway, that’s what I found very attractive about him.

Yeah. I like the way you perceive him as an objectivist.

Yes, I like that we’re leaning towards it. [laughs]

Showcase of Losers, DC

Then you have the Losers here. What was your introduction to this franchise before you started working on this one?

Really just a Darwin Cooke comic The New Frontierbecause they appear in the prologue of the addition. And I think most people these days know them that way. But yes, I love this comic. It’s like one of my all-time favorite superhero comics so I was excited to play with them and I was excited that we should do some kind of dinosaur island adventure with them because that’s not really the case. . traditionally what The Losers did in their comic.

They were more like a WWII team adventure comic. So they fought the Nazis, they were in the Pacific or somewhere else. They did World War II adventures [laughs]. But there were other comics from the same era where World War II soldiers fought dinosaurs on some weird islands and stuff like that. I think Darwin Cook kind of took those two concepts and mixed them together, and we ended up doing the same thing, because of course people know them that way. Few are still familiar with these old comics.

You mentioned Dinosaur Island, I thought it was a great place to be because this place in Washington DC has such a long history. You can explore so much of DC’s rich history in both of these featurettes here. How cool is it to just dig through that back catalog and maybe introduce some people to these characters that they might not be very familiar with?

I think it’s really fun. I think that’s part of what’s really interesting about the shorts. Because I think with [direct-to-video films], I think what we are going to do is more deliberate because they take more time to create and they require a little more budget. But I think with the shorts, because they’re so small, we can just take a character and have fun with him, you know? Amazing. It’s very liberating and I think that’s one of the reasons we were able to be so stylistically diverse in all of these shorts. We really tried to make sure that each of them in some way fits the style of the old comics. I know that was Rick’s main concern when we set out to do all this. So yes, no, it was great.

In particular, in the case of The Losers, 13 minutes is not a lot of time to tell a really meaningful story and introduce these characters. So, what was the difficulty in fitting the entire story arc into such a small amount of time?

Yes, it was hard. I mean, as far as I remember, the Blue Beetle was quite formed. I think we didn’t deviate much from the script, I think with The Losers we kind of worked on the script, from the second, when I was in the door, we talked about it, especially the third act. In short, just trying to put everything together in a satisfying way, it was quite difficult.

We actually had more… the cast was originally a bit bigger. I think it was a character and I can’t remember her name but she… I don’t remember her name but she was part of the team and we ended up cutting her just because she didn’t do much. and she didn’t help much. She didn’t have her own beats in the script. She just had a lot of different lines of dialogue [laughs] and so we thought, «We could just pull her out and give her dialogue to some of the other characters, and the whole thing could be fun, flow a little better, and be a little simpler.» So it was a decision that was made quite early. But then, at the end of the movie, we fought it to the very end, trying to make it right.

We ended up at some point moving away from the script a bit and just sort of put in something not quite off the script, we kept most of the dialogue but we fiddled a bit with that last bit to get the action to work. Just to make it tense and exciting, all the stuff with the characters being cornered by the T-Rex, it wasn’t really how it was scripted. So we had to take some liberties to get it right. But that’s how he does these [direct-to-video films] and these short films are usually for everyone … the writers make their assumptions. And then we come to our side of the business and kind of make our best guess of what makes a good movie, and it kind of just gets passed from person to person until the job is done.

Are there any DC fairy tale characters, especially obscure ones, that you would like to work with in the future?

Oh man, let me think. Not obscure… I mean at some point I would like to do something Superman style, but it’s kind of the least obscure thing you could say. But I’m not sure about the obscurity, I need to think about it more. [laughs]. But yeah, no, I mean, I’d love to do one of those shorts again. Any character they want to throw at me, that would be fun.

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