Colorful and musical image “Scoob!” – Featuring the story of the 1930s classic Saturday-morning cartoon first introduced by An Warner Bros. animated film – featuring Will Forty (Shaggy), Jack Efron (Fred), Gina Rodriguez (Velma) on VOD from May 15. , Amanda Shepherd (Daphne) and Frank Welcar (Scooby).
“It was great to find out where the characters met and what their first mystery was,” says director Tony Servon. “And it was great to do it in a big, special and fun way.”
Animation veteran Servon has worked on projects including “Space Jam,” “Fantastic Mr. Fox,” and “Pinky and Brain.” “Scoob!” With his feature first-hand direction, he has blended classic touches with new concepts to help fans get back to familiar troupes without leaving the look stale. “It’s a dance,” he says of finding the right balance
Color was one way to achieve this equilibrium. “It’s a colorful show, but there’s a lot of adventure at night,” says Servon.
In close collaboration with Servon production designer Michael Kurinsky (“Spiderman: The Spider-Shlok”), a process began with the creation of a color script – a way to map an animated color, light, and sensitive strokes. “Scoob!” The script for this has been spread across the entire wall, Servon said.
Kurinsky’s main goal was to avoid making the film look photoreal; Viewers need to know that watching a cartoon means the designer is never afraid to push the color to “scoop”! Because “they were never afraid to paint the original color,” he explained.
Kurinsky’s three big environments were “Scoob”! – Among these gangs, Blue Falcon (Mark Wahlberg) and Dick Dustardly (Jason Isaacs). “I wanted to gift each of these worlds and their characters their specific palettes so that when that character was‘ victorious ’or in control of a scene I would reflect light and colors,” Kurinsky said. “Gang’s palette was created based on the color of the mystery machine. Blue Falcon is his signature bright blue and Dustardly’s palette includes violet, acidic yellow and rusty red.”
Kurinsky also considered relative size and texture in creating his cartoon look. Shaggy, Scooby and the gang first meet while joking-or-treating and stumbling across Rugby House. It’s haunted, but new friends must enter it to recover Shaggy’s lost candy.
“I wanted to give each of these worlds and their characters a specific palette so that when that character is in control of a scene, the light and colors reflect it.”
Michael Kurinski, Production Designer
“We saw a lot of haunted houses that were designed for the original shows and they saw that they pushed the proportions of things like towers and roof horns,” says the designer, “so we went to the outside of Rigby House that way.”
For the interior, he aimed for a claustrophobic feel that stuck to the young gang feel “We took a closer look at the original‘ Scooby-Doo ’background imagery and wanted something of finer quality in the hands of things like wood textures,” Kurinsky notes.
Servon spent a lot of time finding the right music for the film. He had a tentative score, but “the sound like it didn’t sound like what the film should sound like,” he says. Composer Junky XL (“Terminator: Dark Fat,” “Mad Max: Fury Road”) has been able to serve the sonic duality of the film: the fun, thrilling and scary elements of the classic “Scooby-Doo” are obsessed with hip-hop beats. “Music delivers what you expect and takes you to places you don’t expect,” says Servon.
The director is especially proud of the synthesis-driven horror suite with the Rigby House scene. “The musical formulas of this scene come back just like that,” he says.
Similarly, when editing it, the servon tends to be unexpected. “We use the handheld camera movement,” he said, to give the film its visual power.
Although most of the original series took place at night, Cervon said he wanted to open the film in the bright sun – as opposed to what viewers usually refer to as “Scooby-Doo”.
“I don’t know why,” Servon allows, “but it means California to me.” The action is set on the west coast, welcoming visitors with 2 packs of classic “California Love”.
“You have the beach and the bright colors,” says Servon. “It was important to put the story in the right place.”