All language subtitles for 13 - Character and identification II.eng

The time has come to
talk about the character.

How will it be the protagonist,
the protagonist or the protagonists

of our series, our feature film

Our short film, our animation project?

How do we imagine it?

We already know that
he must be empathic,

We already know that this
identification has to happen with the spectators,

But how do we create it?

Then I propose to take a
tour of three characters.

In the three series I was in
the process of creating characters

and I can tell you a little, at
least what the mechanisms were

that worked at the time of
giving life to these characters.

Let's start with Zamba.

When we think about the series,

we needed a character that was naughty

because he had to escape the
excursion and travel to the past.

He had to be
hyperkinetic, hyperactive.

We had thought he
was curious and anxious

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because all the time I
was in need of action.

We wanted him to be
rebellious and brave

to be part of revolutions,

in order to be part
of Argentine history.

At the same time he had to be
sociable, he could not be sullen.

He had to be a character who
befriended everyone very quickly.

We also thought it was a character that
would function as a stimulus-response.

Let's say he wasn't a character
with a very complex psychology,

but Zamba works very fast
and seeks action very fast.

Then from that these were
the first sketches I made.

Obviously I'm not an illustrator
and I'm not a character designer,

but at least in these first sketches

I can interpret at a
distance after a long time,

who had thought he
was a short character,

I imagined it with a smile,

I already imagined it with that hair.

Then I asked the producer to help me

with a plastic artist
I knew, Delia Iglesias,

and with it I started,
as if it were a casting,

I started to sketch the character.

Always with Nicolás
Dardano, art director,

and with Sebastián Vignona,
general director and general producer,

We started thinking
about how Zamba should be.

Then we sat down to draw.

Many times it works
to sketch with someone,

try, gather some references,

and little by little
some ideas began to appear.

In principle, the design
here doesn't look like much,

but we can see that we were clear

Work with thick lines the
contours of the character.

Finally it began to appear as a
small spirit of the character.

A character idea was
beginning to appear without a tooth,

rogue face

and now in the design
we will analyze a little

what are the fundamental
features that remained of Zamba,

but more or less this was the
final pencil sketch that inspired us

and with this we went to
work with Nicolás Dardano,

who is the art director,

and we started passing these
sketches from Delia to the Illustrator.

Nicolás began to make many
variants and many options.

Some with an
aesthetic, others with another,

but if you see,

more or less all the
characters there is a spirit.

Of course it is very
difficult to start making decisions.

What should the dust cover
be like, more or less detail?

How the hair should be,

How should I have legs.

Many decisions begin to appear

What to take and
what we take as a team.

Finally, Zamba's design was this way.

There are some specific features
that I would like to emphasize.

In principle, notice
that it is disheveled.

This talks about the character.

A character who is rogue,
who is rebellious, is elusive

It has to be a little disheveled.

Or at least that hairstyle
has to talk about her character.

On the other hand, if
you look at the bangs

has a kind of horns

and we gave that to emphasize a little

That idea of a little imp or rebel.

Then the skin color is very important.

We were thinking about
this for a long time.

If one thinks of an Argentine
child or a Latin American child,

if one had to grab the
skins of all the children

and make a very large Pantone

I think the brunette complexion
is what most identifies the boys,

At least to the boys in Argentina.

So it was a whole
decision and a whole position

that Zamba is the
representative of that nation child, somehow,

and that had that skin color.

This initial idea was maintained
in the sketches of the broken tooth.

I like to say that it is a war wound

from that battle we all
fight, which is called childhood.

We all go out with
some scar, with some chip

or some small damage from
those games we usually do.

And a broken tooth, in my view,
speaks of a mischievous child.

He's short, he kept
this idea of short stature,

A bit like Messi.

We made the nose a bit wide too

to preserve those
Latin American features.

Zamba always brings his backpack
on, like those boys who are running.

I had a partner who walked all day

with his backpack on his
back and somehow inspired me.

And on the other hand
it has a white overall,

which is the symbol of the
public school in Argentina.

So somehow the Zamba design,

all decisions around
character construction

they have some kind of
look that is not capricious,

It has a why.

Let's say, it's not because I like it

or because my classmates
would like certain features,

but we look for ways to
explain or find a meaning

to each of the decisions.

Finally, at the
slightly more technical level,

we had no chance to
cheer elbows and knees

Because it took much longer.

The form of production
needed to be very agile,

so we had to think a character

I could barely flex
my elbows and knees

and that also limited us a lot.

I think finally all the decisions

they were successful and
Zamba worked very well,

not only as an icon, but
also as an empathic character,

and also at a technical level
because we encourage it in a timely manner

and that is still important when
thinking about an audiovisual project.

That animation times
have to do with budgets

and make it feasible.

Let us now analyze the process of
creating the character of Siesta Z.

After the success of Zamba, the
same creators of this character

we started thinking about a series

That had a little more
international projection.

Then it occurred to us to
analyze the classics of literature,

but the most difficult
classics that had not been adapted

for children's audiences,

And we think of a character.

We wanted that character
to be a girl definitely,

but I didn't want him
to have the female brands

which are called the brands
that underline more than girls,

but we wanted her to be a truer girl,

who doesn't necessarily like dolls,

who does not like the color pink
and without those gender brands

to which we are accustomed.

Then we think of Siesta.

The name of Siesta Z

It comes from one of the main
features that the character has,

which is that he
suffers from narcolepsy.

It was quite a decision to make
the main character of a series

have a disability, it is
a fairly complex disease.

This also brought some difficulties.

because it really cost to
install Siesta on many screens

because it was a
recurring objection that we found

from many potential buyers

they told us they
didn't like it at all

that the protagonist had a disease

or mention a disease in a
show for children's audiences.

Anyway the video that was inspiring

to think about narcolepsy
was this video curiously

that at some point I
had found on the internet.

That is Rusty, a
dachshund that falls asleep.

It seems very tender to me,

and this video somehow inspired us

To start thinking about Siesta.

When we started designing
Siesta, as in the case of Zamba,

We took into account the
characteristics we wanted the character to have.

In principle we needed a
character that would like to read.

His dreams are surreal
adaptations of the classics of literature,

but for that we
needed it to be a character

who likes to read

and as we saw in target
this format is intended

to boys and girls who
are starting to read.

So we wanted him to enjoy reading.

On the other hand, we needed
it to be an explosive character,

that he had a contrast between his
peace or what he transmits when he sleeps

and how explosive it
can be in your dreams.

In the real world it is quiet
and in your dreams it is explosive.

On the other hand, as we saw,

we wanted it to have
some characteristics

male and female in the same character.

We definitely wanted
him to hate princesses.

We liked the idea of a girl

which is somehow suggested
in the intro of each chapter

who suffers some kind of bullying

because of the condition he has,
the disease he has, narcolepsy.

And we also needed a
girl who faced that

have an expansive
personality, that is incorrect, careless.

These are some of the first sketches

that I did very
awkwardly about the character,

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but he tried to find a little what
his mood was, what his spirit was.

With this same thing I went again
to Nicolás Dardano, the art director,

and we started drawing
it in the Illustrator.

We started to pass
those conceptual ideas

and we started to
design the character a bit.

That way, up there,

there are some expressions
that I drew a little my way

and then below some more design
interpretations of that same character.

We started drawing her asleep.

We started to draw her cranky, in
love and we passed her expressions.

All this served later
to put in the folder

and to be able to feed
that project presentation.

And finally a little here
we can see the evolution

That was having the character design.

In 2011, when I started drawing it,

It had a rather primitive aesthetic.

Then that Z of the
shirt became in the cap.

Then, in 2014, we started
drawing it with slightly harder lines.

In 2016 I finish
closing this character design

With much more vibrant eyes.

Siesta's cap is

a small tribute to the
character of Holden Caulfield

from "The Catcher in
the Rye" by Salinger.

That character also
inspired us a lot by his rebellion.

And this is the
final design of Siesta Z.

Usually, once a
final design is reached,

it's about making a kind of bible

With all the expressions.

And try to cover most of
the character's expressions

so that later the animators can use it

to understand what the character of
the character is, how he should react,

as to identify those emotions

and reach the best
result when they are cheering.

Usually, the ideal is
to print it somewhere

and that the animators and the
cheerleaders have it very clear.

Many times it happens that new
emotions of the characters appear

and it's good to feed that bible

and continue to bring new emotions
or new expressions to the character.

Now, Siesta works in
a very particular way.

What we try to do beyond
the specific characteristics

of the character Siesta

is that it assumes an
active role in each of the works

and somehow

share the prominence
with the protagonist

of each of the works of the
classics we were adapting.

Here we have the
protagonists on the left side

and the right to Siesta.

So what we were trying to do
is separate the head in two

to each of the protagonists

and give, for example,
Juliet, Hamlet, Oedipus,

to the Ghost of
Canterville or Achilles

a slightly more passive role

and reserve the most
active role for Siesta.

Siesta works like a
kind of inner child

or as a kind of very
primitive and wild desire

of each the protagonists.

For example, if Achilles
says he doesn't want to fight,

Siesta says I'm furious, we
conquered Troy, in "The Iliad."

Juliet, in "Romeo and
Juliet", will lament

but our families are enemies or
will you think that love is impossible

and Siesta is going to urge
her to fight for that love.

Hamlet is going to ask to be or not to
be and Siesta is going to shout revenge.

The Canterville
Ghost will want to hide

of the family that comes to the house

and Siesta is going to
propose that they scare everyone.

Oedipus will scream and say
all the time that he is innocent

and Siesta will want to
discover the truth all the time.

So what we did, unlike Zamba,

that Zamba is more a
companion of the protagonists,

what we are trying to do is
that Siesta is pushing all the time

to the protagonist or the
protagonist to the action

and function as an inner
voice that pushes it all the time.