Los Angeles’ ubiquitous smog, freeways, beaches and palm trees — as well as its place in moviedom — were all influential elements as filmmaker Pierre Perifel and production designer Luc Desmarcheli…
Los Angeles’ ubiquitous smog, freeways, beaches and palm trees — as well as its place in moviedom — were all influential elements as filmmaker Pierre Perifel and production designer Luc Desmarchelier huddled over where to set DreamWorks’ latest animation, “Based on the children’s book series by Aaron Blabey about a group of animals — a wolf, a snake, a shark, a tarantula and a piranha — that are always portrayed as criminal types but are trying hard to reform here, Desmarchelier says the script...
One particular car chase sequence between the cops and the bad guys takes place at dusk. Attracted by the smoggy skies often portrayed in quintessential L.A. noirs, Desmarchelier wove that into his backdrop. “There’s a little bit of smog as the city lights up in orange,” he says. “You often see it in [film] cinematography; it’s intuitive when you think of night colors, and that design choice here worked beautifully to set off the electric blue [of night].
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