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Those kinds of images can bring computers, even today’s really fast computers, to their knees. There are some shots with 6 million light sources. We had an extensive amount of geometry that we were trying to put up on screen. And the scope of this movie was really enormous, so there was a lot of under-the-hood innovation that needed to happen for us to be able to realize the visual density. We’d never done skeletons, so a lot of work went into designing skeletons that were appealing, and not frightening. There were many things we hadn’t done before. It took a lot of really smart people to figure out how to do it. It was mostly that I had a vision of what I wanted the Land of the Dead to look like, and it took a lot of work to realize that on-screen. Our first stab at the story reflected the fact that none of us at the time were from Mexico, so it made sense to tell it from an outside perspective, because I knew we were going to have to teach the audience about the traditions, and about Mexico, and that seemed like a logical way to do it initially. And at that point, we had already done a lot of research, and spent a lot of time in Mexico, and I was for the first time comfortable telling a story from a Mexican perspective, about a kid in Mexico, in a Mexican family. And when I realized that, I knew we really needed to start over and tell a different story than we were telling. It’s about this obligation that we have to hold onto the memories of our ancestors, and not let their memories die. Día de los Muertos is about never letting go. And we realized after developing that for a while that we were telling a story that was really thematically antithetical to what Día de los Muertos is all about. The primary thrust was a kid who had lost his mother, and it was very much about him learning to let go of her and moving on with his life. It was less about a kid discovering his Mexican heritage. That was really the biggest change we made, changing from that early story.
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