![]() “I was in between the book and the drawings, and I wanted everything to be fluid, and to go like a flow, and to go through naturally, so you can’t see the edges, which actually is the case of Eléa’s drawing,” Breitman notes. ![]() Impressed by the “wonderful watercolors” of Eléa Gobbé-Mévellec, Breitman had found her co-director, working closely with Gobbé-Mévellec to refine a style that would allow the film to breathe, providing the time and space necessary for a depth of emotion to emerge. “I went for something more visual, more abstract.” Only then, I read the book, and with the process I wanted, I actually didn’t go at all to what was obvious, which was like a more hyperrealistic drawing,” Breitman says. “That was quite something, because I had about 20 very different kinds of graphics. ![]() Getting the green light to mount the animated film only she could make, the director then had to settle on a visual approach to the story, as the pic made its way to renowned French production company Les Armateurs. “I didn’t direct animations before-theater and cinema and TV, but not animation-and I said ‘Oh, yeah, I’d love this challenge, if it’s possible for me to make it my way.’” So, he went to me and asked me to direct it,” Breitman recalls. ![]() “A young producer had the script from the book made already and thought to make, I think, a real action movie, but then thought it would be better to have an animation film. ![]() 'How To Train Your Dragon' Director Dean DeBlois On His ![]()
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