production notes hotel transylvania - Visual Hollywood

HOTEL TRANSYLVANIA (2012)PRODUCTION NOTESthen marries them together – he has some crazy system and I don’t even begin tounderstand what that system is, but it’s really cool.”Why cereal boxes? “I love the patina, I love those colors,” he says. “When I have ablank, white piece of paper in front of me, I don’t know what to draw, where to start.The colors help me. Not to mention that if I’m using an empty cereal box, somethingthat was just going to be thrown away anyway, I can do a draft and if it doesn’t turn outright, not to worry, just throw it away and start again.”One of Grangel’s biggest contributions was the design of Murraythe mummy. “Before Carlos got involved, we had always seenMurray as a classic Mummy, skinny and slight, and we were goingto do a take on that until Carlos sent in a big, round Murray,”Murdocca explains. “His designs and poses were hilarious, withthis big mouth and just an open slit for eyes. He was veryexpressive, with tiny feet and hands. We had to use his design.”“We could create this overweight mummy, so different from the tradition,” says Grangel.“We could make this character something totally new and fun, a mummy for the newgeneration.”Grangel also designed many of the background characters, including the witch maids,the headless driver, and the mariachi skeletons. “Coming from Spain, I’m a bit aware ofthe Mexican tradition, and I love the great designs and graphic shapes of the Day of theDead,” he says. “I really wanted to make a tribute to that culture and honor it. I studiedit as much as I could and got as many pictures as I could for reference. I felt it wasreally funny and different.”With the characters designed, Marcelo Vignali oversaw the production design of thefilm. “The hotel, in many ways, acts as the straight man for the comedy that is playedout by the characters,” he says.© 2012 Sony Pictures Animation 17