I'm Andy Circus, the director off mobli legend off the jungle.

And this is notes on a scene, huh?

So we're gonna look at a scene which is the culmination off a Neve ent in moguls life called the Running, which is a rite of passage trial that he has to go through to prove himself to enable him to be considered part of the pack.

He's never gonna be able to run as fast as a wolf on all fours.

So blew.

His teacher has bean teaching him to slide down trees to jump from branch to branch to enable him to get a bit of a head start.

At this moment in time, it just about looks like Mobley is in the lead.

I'm gonna cross the finishing line before all the other wolves when suddenly something happens.

Yeah, when he headed into this movie, really didn't want to use documentary style photo real animals that you would never believe the voice would come out off.

Part of the design of the animals was to license them so that you could actually see facial expressions that made human vowel sounds.

Because these are animals that represent humans.

If you look at blues face here at the jaw line, the muzzle three eyebrows.

Animals don't really have eyebrows like that, but these were all designed to make them look Maur more human.

Although it feels like a bear, it's actually not that the shape of a bear's face on dhe purpose.

We wanted all of the eyes of the animals to look askew man as possible.

So, in fact, this is the character that I play so blue as a character is very grizzled.

He's got Faro browse.

He's covered in scars.

A scar on his nose.

There, you know, I have quite a for it for a brown.

I also made a balloon have a slightly slack jaw.

So when I was acting, you must let my draw drop on this on this side a little bit.

So you got you know, it drops out of the corner of his mouth.

You know, he's got bitten here so you can see.

You can see that sort of chewed up.

We wanted our animals to feel riel and to feel not that they were sort of fluffy CG inventions.

But they were textured riel beasts that go through survival on day to day level way shot the whole film in two different passes One the first section of the movie Iwas with all our A list cast.

So Cate Blanchett better become a batch and Christian Bale Roman Chandi plays notably It was all about their performance is really about their facial capture performances and moving around physically as they're creatures.

Once we've done that, we would then move on to our jungle sets of which we built.

It leaves in studio.

So all of these trees well, the vines all all of the stuff in the foreground Here this is a real foliage.

All this stuff down here, then then you find a point where you're looking into the background and all this stuff sort of from there a ll this.

This is all CG set extension.

This actual shot is what we would call a pickup or facial a d r.

Which means that in fact, I actually shot this piece.

It must be two years after principal photography to get this look.

So in the 80 our stage, I just had my head mounted camera with dots all over my face and then I would be ableto watch on screen what's going on.

And then I'd be able to trace mobilise eye line as he is running towards me on dat.

Look that I gave in this very rare shot was actually something was captured two years after the event.

So that's the great thing about performance capture.

You can keep adding little modules of performance pickup beats bits of storytelling a zit carries on Let's go here on screen.

We've got Rohan Chand, who is, um, ugly in our picture on dhe extraordinary young actor and the makeup department went to town.

You can see again.

We wanted him to not look too clean.

In other versions of of Mobley story, the boy always seems to look like he's sort of just strolling down through Central Park.

He never seems to get dirty, and we really wanted him to feel grungy and dirty and filthy.

Yeah, way have Christian, who is at this moment is this extraordinary amount of losing himself.

Onda.

He really goes into full Panther mode, and Christine actually did this, let on top of him, and we captured all of Christian's performance.

You can actually see Christians face in this and end all of this skin texture.

And for all of this detail that the visual effects team work on getting the jaw to read, read Christians jaw the yellowing of the teeth again to make the characters seem more believable.

These whiskers.

We spent a long time getting these rights, and they were so so in every single shot, their lips slightly differently.

So they don't become too distracting because because because of the door opening and closing so much, yeah, this wonderful sort of tension in his brow that the the animators would bring to it What's not losing Christian but yet yet really saying the full path through, Let me go with you.

So in a shot like this, I mean, Robin, really he has to go from like, naught to 60.

And just just to get into this shot to literally roll conflict over land have have Bagheera land on him.

He's got a he's gonna emotionally be totally in the scene and prep.

So part of what I used to do with him was saved him before every single shot run, right.

We're gonna get into the zone now, making do press ups and meet him, focused on getting it ramped up.

And then it would be a real fast count.

321 actually thrown into the scene.

He would roll in and and and he'd be really pumped.

Huh?

Get up if you let your guard down.

When I think about the other roles that I played using performance capture, it's difficult enough to take a humanoid face and to transfer it and turn.

Dispose the performance on to, say, Gollum or Caesar and Planet of the Apes.

But those are much, much more humanoid faces, facial structures.

They're not too different from a human's face.

But when you're looking at trends transposing a performance into with the muzzle like this, that takes a lot of work, a lot of understanding about how to have to make the emotion read in the performance and actually quintessential get what I was I was doing in this moment.

So what they're looking at when they get the material is is a data, which is the three d captured dots Andi 360 degrees.

But they're also looking at witness what we call witness cameras, which are lots of cameras placed around the actor's face so that you can really read the performance.

And it was their job than two.

Absolutely.

Get this greater fidelity to what I was doing in the moment, for instance, a shot like this with his physical of physicality, a change of physicality and a blocking move with the camera.

Again, it was inspired by the first performance capture phase on Christian turned away and moved away and tries to gather himself.

And so they would look at the reference shot of the witness camera footage knowing knowing what Christian was seen, what Christian was doing.

And then we would either have as a rehearsal, we would have a motion capture actor.

Or in fact, sometimes we used two actors with it with the spine.

So it be two actors, one plane, the front legs on, one literally playing the black back legs on the end of a sort of a flexible pole.

They would have Aguirre's head that they could move around on steer, so that would enable us to get our framing absolutely right.

You let your guard down.

Roman, you know, is 10 years old.

When he started making this movie on 14 when he finished so he obviously started off with a slightly younger facial features, and we were very worried over the course of of four years with all of the pickups that we did.

This actual shot, which we had to match in with the previous shots in this sequence, was actually about a year and 1/2 after those previous shots on Rohan have changed.

By now.

He had actually growing.

This is now show against the blue screen.

So this was all a CG environment.

We didn't build that again.

This is this is we had to replicate what would be created a year before you'll notice that there is a slight difference.

He had grown his hair very long, but he had to come back and have false hair extensions.

Put in the makeup, you'll notice, is slightly different.

We were trying to match it as much as possible, but But when he stands up, he's just that little bit taller on.

That was because where there's a different reaction Thio that we wanted t get rather than what used to happen.

Actually, in the first time we shot it was that he really started shouting it.

A balloon that in terms of being even.

How he was betrayed and so on.

On balloon has a real going AM, but way thought balloons being too heavy.

So he pulled that back way needed to reshoot this.

But you can tell this is a boy who's who's going from the age of 10 to 14 and then back to going back to the younger version of Rhone, which is back to when he's 10 going on 11.

Talk to me.

He knows I'm a weakest Oh, if you're yes, since way seem ugly, take off and it's the really.

It's a pivotal point at the end of the scene because he then begins his journey towards stepping over the line, becoming assimilated into the world of mankind and then having to retract on find his place.

So this is a huge turning point.

Our journey is really about a boy who it feels other.

There are laws and rules that are within the jungle that hold the structure of the jungle together, and some of them he can.

He can abide by some of them he can live with, but some of them he just can't because he's not an animal off the jungle.

But when he finally gets to the village, he realizes he neither can he fully live in the world of man because their rules and customs and laws don't apply to him either.

So the whole film is really about a search for his identity and how he can be himself.