Spielberg On Why “Tintin” Is Mo-Cap

Steven Spielberg tells The Los Angeles Times that the reason he and Peter Jackson went motion-capture with their adaptation of Herge’s “Tintin” books was due to his respect for the material and “wanting to get as close to that art as I could”.

He tells the paper “Herge wrote about fictional people in a real world, not in a fantasy universe. It was the real universe he was working with, and he used National Geographic to research his adventure stories. It just seemed that live action would be too stylized for an audience to relate to. You’d have to have costumes that are a little outrageous when you see actors wearing them. The costumes seem to fit better when the medium chosen is a digital one.”

Because much of the film’s production was shot with the same techniques used with the Pandora scenes in James Cameron’s “Avatar”, Spielberg had the luxury of seeing what the end product would look as he was filming it: “”When Captain Haddock runs across the volume, the cameras capture all the information of his physical and emotional moves. So as Andy Serkis runs across the stage, there’s Captain Haddock on the monitor, in full anime, running along the streets of Belgium. Not only are the actors represented in real time, they enter into a three-dimensional world.”

The digital domain also allows the director to go back and change elements such as the camera moves and spatial orientation long after the actor has left the set. The first film, “The Adventures of Tintin: The Secret of the Unicorn”, is scheduled for an international release mid-2011 and a US release later that Fall.