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  • >>STEVE MARTINO: Our biggest challenge was to create something unique in this picture

  • and for us we wanted it to be an epic story. Let’s make it feel big, let’s make the

  • stakes high for our characters.

  • [MOVIE PLAYING]

  • >>: Every step of the way as we were working with camera, as we were working with effects,

  • everything was to serve, and it’s bad, it’s a big world, theyre on a tiny little piece

  • of ice.

  • [MOVIE PLAYING]

  • >>NASH DUNNIGAN: In the storm sequence of course it’s very tense and very ominous

  • and theyre in peril the entire time and so the colors reflect that, the lighting reflects

  • that, everything’s dark, subdued with flashes of light. It’s like turquoises and dark

  • greens and dark blues and so that we have a palette to work with at least color wise.

  • When the previous team gets in there and they start blocking out the cinematic beats of

  • the big moments, were actually figuring out wave heights and were figuring out

  • basically when we put the character, the boat, or the glacial ship in the middle of this

  • environment, what’s going to help convey scale in those really big shots. One funny

  • thing about that sequence, we had to run a sea sickness test. We can’t have everybody

  • in the theatre barfing to their neighbor if the seas are too rough.

  • [MOVIE PLAYING]

  • >>STEVE MARTINO: This is the first movie weve had in a long time in Ice Age where there’s

  • a true villain for Manny and our guys and Captain Gutt is that character, voice by Peter

  • Dinklage.

  • [MOVIE PLAYING]

  • >>NICK BRUNO: To be able to have the flexibility of what a real orangutan will do, it’s like

  • if you watch them they can gooohbut theyre lips will pull off of their denture.

  • >>JIM BRESNAHAN: We had to go back into that muzzle and add I think extra, what we call

  • controlled points to just be able to get those gummy shapes the way we wanted.

  • >>NICK BRUNO: To be able to not only do that but then control some of the weight moves

  • around that and still gets expressions is a real testament to the strength of our team.

  • [MOVIE PLAYING]

  • >> NASH DUNNIGAN: One of the biggest challenges seems really small and innocuous but Granny’s

  • neck was really tough to get to look like an old baggy neck.

  • [MOVIE PLAYING]

  • >>NICK BRUNO: Well say some of the technology to line up with each other was a little difficult

  • and Sid had some great solutions to allow us to do that and it’s a lot of fun to watch

  • in the movie. It’s a subtle thing but if youre looking for it, it’s disgustingly

  • awesome.

  • [MOVIE PLAYING]

  • >> STEVE MARTINO: I think what makes the Ice Age movies work, and we tried to pay very

  • close attention to this in this movie, is that these characters we relate to almost

  • like human beings. They have to connect with us in a way that I see Sid do something goofy

  • or make a big mistake, I’ve been there myself.

  • [MOVIE PLAYING]

  • And then we set it in a world that we don’t get to live in every day. We get to take the

  • audience back to an Ice Age, take them out into the high seas, seeing a world rip apart

  • in a huge and dramatic way that we don’t experience. But at the core, we connect with

  • the characters on a human level because were doing and living the same kind of experiences

  • that they are.

>>STEVE MARTINO: Our biggest challenge was to create something unique in this picture

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A2 BEG playing ice age bruno nick sid steve

Ice Age 4: Making The Movie (BLUE SKY STUDIOS INTERVIEW)

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