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Directors on Transforming “The Lion King” Into 3D
Directors on Transforming “The Lion King” Into 3D
In line with the release for the first time of Walt Disney Animation Studios’ The Lion King in 3D, directors Rob Minkoff and Roger Allers talk about the highest-grossing animated film of all-time and its journey into 3D.
Lion King Directors Roger Allers and Rob Minkoff
How did you become involved with The Lion King?
ROB MINKOFF: I started working at Disney in 1983. I started as an animator, but then I directed a couple of Roger Rabbit shorts that came out after the feature, Who Framed Roger Rabbit. I was in line to direct a movie for Disney and there were discussions about me doing Beauty And The Beast, but that didn’t happen. The next project was The Lion King.
ROGER ALLERS: I had worked at Disney for years in a story capacity on a lot of features, so I showed an interest in directing. After I completed my work on Beauty And The Beast, Jeffrey Katzenberg approached me to direct The Lion King, and I jumped in with both feet. It was a very exciting project for me.
Why were there two directors?
ALLERS: It’s a very common thing to have two directors on a Disney movie. They like to have director teams because there are so many different aspects of the film that need to be overseen during a very short period of time. A two-year production schedule might not sound like a short time to anybody else, but there’s a lot of work to be done, so Rob and I divided up the movie into sequences. We were then in charge of our own sequences in terms of overseeing all the animators and the layout backgrounds. It was a very creative way of working.
What thoughts went through your mind when you heard that The Lion King was going to be converted into 3D?
ALLERS: The first thing that came to my mind was, ‘How are they going to do that?’ I didn’t have a clue how a 2-dimensional movie could be translated into 3D. It was certainly an eye-opening process for me.
What did the process involve?
MINKOFF: Initially, [The Lion King producer] Don Hahn, Roger and I had a meeting with a Disney Stereographer named Robert Neuman. At that first meeting, Robert showed us some of the techniques they were going to use to convert the movie. We also came in to review the 3D footage at a number of points throughout the process. I thought it was wonderful that the original filmmakers were involved conceptually from the very beginning. And I was delighted when I finally saw the finished product in 3D because it didn’t lose any of its power, integrity or charm. I think the film works really well in 3D.
What does the 3D element add to the finished film?
ALLERS: You feel much closer to the action with the 3D version. The 3D really pushes the drama and you are drawn into the story. I was extremely impressed. It’s the original movie, but now the viewer is part of the story because you are so much closer to the action.
What does The Lion King mean to you?
ALLERS: It’s very emotional for me to look back at The Lion King. When I started work on the movie, it was the first time in my career that I was involved in all aspects of the production of a film. It was creatively satisfying and challenging. It was one of the most exciting times of my career.
MINKOFF: It was also my first opportunity to direct a film, so The Lion King means a lot to me in that regard. It’s crazy how long ago we made this film and it’s fantastic to be able to re-live it again with this new release.
What were your main challenges when you made The Lion King all those years ago?
MINKOFF: The main challenge creatively was to tell an anthropomorphic story about animals. I think the level of anthropomorphism in the film exceeds many of its predecessors, which is something we were very proud of. We decided to take a different approach to other movies like Bambi, which was very naturalistic. Our characters had a more human feel to them; especially characters like Timon and Rafiki. Despite being animals, they look and act very human indeed.
ALLERS: Another challenge was the fact that The Lion King was an original story, so we had nothing to base it on. The story evolved as we went along, but there was also a great time pressure on us. We had a limited amount of time to finish the project, but we got there in the end.
What was the original idea for the movie?
ALLERS: The movie was always going to be about the son of a lion king. The king was going to die, and the son would have to make his way back to reclaim his throne. That idea was there from the beginning – and it’s still there today.
What’s your happiest memory from working on the movie?
ALLERS: There were many exciting experiences during making of the movie, like the first time we got to hear Hans Zimmer’s treatment of the opening song or the many times we spent working with the voice actors involved in the movie.
Which of the voice actors stands out in your mind?
ALLERS: We’d often travelled to New York to record with Nathan Lane and Ernie Sabella, who played Timon and Pumbaa. Those trips were always entertaining. Their charisma and wit would have us rolling around in the recording booth. We would be laugh so hard, we’d cry. They were hilarious and a joy to work with.
(Opening across the Philippines in December 14, “The Lion King 3D” is distributed locally by Walt Disney Studios Motion Pictures International through Columbia Pictures.)
In line with the release for the first time of Walt Disney Animation Studios’ The Lion King in 3D, directors Rob Minkoff and Roger Allers talk about the highest-grossing animated film of all-time and its journey into 3D.
Lion King Directors Roger Allers and Rob MinkoffHow did you become involved with The Lion King?
ROB MINKOFF: I started working at Disney in 1983. I started as an animator, but then I directed a couple of Roger Rabbit shorts that came out after the feature, Who Framed Roger Rabbit. I was in line to direct a movie for Disney and there were discussions about me doing Beauty And The Beast, but that didn’t happen. The next project was The Lion King.
ROGER ALLERS: I had worked at Disney for years in a story capacity on a lot of features, so I showed an interest in directing. After I completed my work on Beauty And The Beast, Jeffrey Katzenberg approached me to direct The Lion King, and I jumped in with both feet. It was a very exciting project for me.
Why were there two directors?
ALLERS: It’s a very common thing to have two directors on a Disney movie. They like to have director teams because there are so many different aspects of the film that need to be overseen during a very short period of time. A two-year production schedule might not sound like a short time to anybody else, but there’s a lot of work to be done, so Rob and I divided up the movie into sequences. We were then in charge of our own sequences in terms of overseeing all the animators and the layout backgrounds. It was a very creative way of working.
What thoughts went through your mind when you heard that The Lion King was going to be converted into 3D?
ALLERS: The first thing that came to my mind was, ‘How are they going to do that?’ I didn’t have a clue how a 2-dimensional movie could be translated into 3D. It was certainly an eye-opening process for me.
What did the process involve?
MINKOFF: Initially, [The Lion King producer] Don Hahn, Roger and I had a meeting with a Disney Stereographer named Robert Neuman. At that first meeting, Robert showed us some of the techniques they were going to use to convert the movie. We also came in to review the 3D footage at a number of points throughout the process. I thought it was wonderful that the original filmmakers were involved conceptually from the very beginning. And I was delighted when I finally saw the finished product in 3D because it didn’t lose any of its power, integrity or charm. I think the film works really well in 3D.
What does the 3D element add to the finished film?
ALLERS: You feel much closer to the action with the 3D version. The 3D really pushes the drama and you are drawn into the story. I was extremely impressed. It’s the original movie, but now the viewer is part of the story because you are so much closer to the action.
What does The Lion King mean to you?
ALLERS: It’s very emotional for me to look back at The Lion King. When I started work on the movie, it was the first time in my career that I was involved in all aspects of the production of a film. It was creatively satisfying and challenging. It was one of the most exciting times of my career.
MINKOFF: It was also my first opportunity to direct a film, so The Lion King means a lot to me in that regard. It’s crazy how long ago we made this film and it’s fantastic to be able to re-live it again with this new release.
What were your main challenges when you made The Lion King all those years ago?
MINKOFF: The main challenge creatively was to tell an anthropomorphic story about animals. I think the level of anthropomorphism in the film exceeds many of its predecessors, which is something we were very proud of. We decided to take a different approach to other movies like Bambi, which was very naturalistic. Our characters had a more human feel to them; especially characters like Timon and Rafiki. Despite being animals, they look and act very human indeed.
ALLERS: Another challenge was the fact that The Lion King was an original story, so we had nothing to base it on. The story evolved as we went along, but there was also a great time pressure on us. We had a limited amount of time to finish the project, but we got there in the end.
What was the original idea for the movie?
ALLERS: The movie was always going to be about the son of a lion king. The king was going to die, and the son would have to make his way back to reclaim his throne. That idea was there from the beginning – and it’s still there today.
What’s your happiest memory from working on the movie?
ALLERS: There were many exciting experiences during making of the movie, like the first time we got to hear Hans Zimmer’s treatment of the opening song or the many times we spent working with the voice actors involved in the movie.
Which of the voice actors stands out in your mind?
ALLERS: We’d often travelled to New York to record with Nathan Lane and Ernie Sabella, who played Timon and Pumbaa. Those trips were always entertaining. Their charisma and wit would have us rolling around in the recording booth. We would be laugh so hard, we’d cry. They were hilarious and a joy to work with.
(Opening across the Philippines in December 14, “The Lion King 3D” is distributed locally by Walt Disney Studios Motion Pictures International through Columbia Pictures.)
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