Spirit: Stallion of The Cimarron - Production

Production

Spirit: Stallion of the Cimarron was made over the course of four years using a conscious blend of traditional hand-drawn animation and computer animation in a technique the film's creators dubbed "tradigital animation." DreamWorks purchased a horse as the model for Spirit and brought the horse to the animation studio in Glendale, California for the animators to study. In the sound department, recordings of real horses were used for the sounds of the many horse characters' hoof beats as well as their vocalizations. None of the animal characters in the film speak English beyond occasional reflective narration from the protagonist mustang (voice of Matt Damon). Many of the animators who worked on Spirit also worked on Shrek 2, and their influence can be seen in the horses in that film, such as Prince Charming's horse from the opening sequence and Donkey's horse form. The film was also referenced in the Disney animated feature Home on the Range, where a character refers to Buck as "Stallion of the Cim-moron".

Writer John Fusco, best known for his work in the Western and Native American genres, was hired by DreamWorks to create an original screenplay based on an idea by Jeffrey Katzenberg. Fusco began by writing and submitting a novella to the studio, and then adapted his own work into screenplay format. He remained on the project as the main writer over the course of four years, working closely with Katzenberg, the directors, and artists.

Makers of the film took a trip to the western United States to view scenic places that they could use as inspiration for locations in the film. The homeland of the mustangs and Lakotas is based on Glacier National Park, Yellowstone National Park, Yosemite National Park, and the Grand Teton mountain range. The cavalry outpost appears to be located at Monument Valley. The canyon of the climax looks like Bryce Canyon and the Grand Canyon.

Read more about this topic:  Spirit: Stallion Of The Cimarron

Famous quotes containing the word production:

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    Every production of an artist should be the expression of an adventure of his soul.
    W. Somerset Maugham (1874–1965)

    [T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.”
    State of Utah, U.S. public relief program (1935-1943)