Pixar’s animators have a historical past of reaching spectacular feats, making characters and textures really feel extra genuine in more and more complicated methods. (That flowing hair! Those landscapes!) But how would they painting jazz?
With “Soul” (streaming on Disney+), the challenge was to translate the music’s emotional and improvisational qualities through a technical process with little room for improvisation. While plenty of animation over the years has gotten the spirit of jazz, “Soul” sits proper subsequent to the piano keys to point out, intimately, a musician creating. And Pixar knew many eyes, particularly these belonging to jazz musicians, can be inspecting its work.
The movie follows Joe Gardner (voiced by Jamie Foxx), a college band instructor by day, a proficient however unsuccessful jazz pianist by night time (and all the time). He struggles to get gigs, however when he sits on the piano, he’s transported, his stress fades and his ardour emerges with every word.
The Pixar filmmakers, recognized for consideration to element — in “Cars,” the motor sounds of every automobile got here from the identical mannequin’s precise engine — knew that capturing the basics of jazz efficiency wouldn’t be potential with out the collaboration of jazz artists.
“We wanted to make sure that if this guy is going to be a jazz musician, he should know the clubs and the back story,” the movie’s director, Pete Docter, stated in a video interview. He and his crew visited golf equipment in New York to get a greater understanding. “We would just go up and talk to musicians and ask them, where did you study?” he stated. “How did you get here? What other jobs do you have? And tried to really flesh out the world of those characters.”
They additionally consulted with a variety of marquee musicians, together with Herbie Hancock, the jazz drummer Terri Lyne Carrington and Questlove (who additionally did voice work).
Pixar additionally introduced on the keyboardist Jon Batiste, the bandleader and musical director on “The Late Show With Stephen Colbert.” He created the original compositions that Joe performs onscreen. Batiste recorded the music with a band in a New York studio, and Docter captured those sessions with multiple cameras. “We set up, like, 80 GoPros everywhere,” Docter said. They then studied the video to get a more accurate picture of how to animate the scene.
Docter said that the animators exaggerated certain movements in Joe’s playing for visual effect, but “in terms of posture and hitting the right notes, that was crucial for us to make sure that it really felt authentic.”
Along with video, they were able to digitally save the notes that were being played. That digital stream could be reverse-programmed into the animation in a way that worked almost like a player piano signaling to the animators which key was being played with each note. So when you see Joe at the piano, he’s playing exactly the notes you’re hearing.
At the recording sessions, Docter said, his approach to directing Batiste was similar to the way he directs actors: He avoided giving specific line readings or input on the music, and instead tried to paint a picture so Batiste could understand the mood of the scene.
“I might just say, ‘You know that sense when you’re playing and the world just disappears and you wake up and three hours have gone by? That’s what we’re looking for,’” Docter said. Batiste would make adjustments to his composition during the session to match the film’s needs. “It was a joy to watch him work,” Docter said. “It was like having a private concert.”
Batiste said that he felt a connection with Docter in creating these scenes — “Pete is a healer and a philosopher,” he said by email — and that he was glad to see the care with which Black music was being treated.
Docter grew up playing music. Two sisters are professional musicians and his parents are music educators. So that made it easier to sync up with the film’s musical passions. And on his team, he said, those who were animating a specific instrument often either had experience playing that instrument or a strong appreciation for it.
Joe, in all his complexity, is brought to life in three ways: through Foxx’s vocal performance; the character’s design and movement; and Batiste’s compositions and performance. Those close-up shots of Joe’s hands in motion reflect the pianist’s spirited style of play — so much so that Batiste was taken aback when he saw those moments onscreen.
“My hands are central to my life,” he said. “I was in tears when I saw my essence come to life in Joe. To have this as a part of my creative legacy is an honor.”