Recently, we got the chance to talk to actress Emily Mortimer at the press day for Cars 2 at Pixar. In the sequel to the 2006 film, Mortimer voices the character of Holly Shiftwell, a beautiful British desk agent who is now a spy-in-training. Sheâs one of a cadre of new characters in the film, and works closely with international spy Finn McMissile, voiced by Michael Caine. Throughout the animated flick, Shiftwell interacts quite a bit with loveable towtruck Mater as the two must work together to solve a case of international espionage.During the course of our interview, Mortimer talked about how the process of voice-acting at Pixar works, what it was like to work with director John Lasseter, how the experience differed from her voice-work on Howlâs Moving Castle, and what it was like to re-team with director Martin Scorsese for his first 3D feature Hugo Cabret. Hit the jump to check out the full interview.First off, if youâve missed any of our previous Cars 2 interviews hereâs your chance to catch up:
- Producer Denise Ream
- Composer Michael Giacchino
- Story Supervisor Nathan Stanton
- Supervising Animators Shawn Krause and Dave Mullins
Weâll be running a new feature each week up until the release of Cars 2 on June 24th. During our interview, Mortimer was more than happy to share with us how the voice-acting process works at Pixar. Itâs obvious that the studio takes nothing for granted, and does everything possible to get the best results out of every department. Mortimerâs voice sessions were taped so that the animators could take cues from Mortimer herself when building the character of Holly Shiftwell, and director John Lasseter was crucial to the voice process, acting out many of the parts himself opposite Mortimer.
In case you donât get the chance to read the full interview, here are a few highlights:
- The script for Pixar films is very different. Itâs extremely technical, and includes all the details of whatâs happening onscreen.
- During voice-sessions, John Lasseter would set the scene for her and explain to her what was happening. Then he would act out the other characters opposite her.
- The voice-work comprised of 7 or 8 sessions over the course of a year.
- One of the hardest aspects of voice-acting was that she had to be bigger and more animated, after being used to valuing subtlety in live-action acting. They video-recorded her first few sessions in order to give the animators more to work with when creating her character.
- She thinks Martin Scorsese using 3D on Hugo Cabret will be an historic moment in cinema. She points out that heâs really the only auteur director who âhas the balls, curiosity and imaginationâ to want to use 3D.
Interviewer: Have you seen the entire film?
Emily Mortimer: Yes, I have. Itâs still rough cut, but we saw it this morning and itâs just so staggering, I canât get over it. Incredibly impressive and beautiful, just scene after scene, shot after shot is just more and more mind-boggling (laughs). I didnât think it was possible to make an animated film that lookedâit just is so glamorous, you know? It looks as good, if not better, than those huge budget live-action spy movies. Whereas they often forfeit, for spectacle, the characters and the story where you go just to be sort of blown away, this is still basically a story about friendship and itâs sweet and funny, and the characters are so great, [it has] all the characters from the first movie. To me itâs incredibly impressive how they managed to pull it off (laughs).
How early are you brought in on the process? Do they show you storyboards of whatâs happening or is it basically someone telling you what the character is?
Mortimer: Itâs basically someone telling you what the character is. I mean they give you a script, but itâs really hard to read the script actually because itâs so, itâs a different kind ofâin fact out of the whole experience the script is the most different from anything Iâve ever known, like on a live-action movie. It just doesnât really make sense to the untrained eye. If youâre lucky you get it the night before, but very often you donât get it until the day of the recording, and actually there wouldnât be much point in having it for a long time before that anyway because itâs so sort of dense with the technical details of whatâs going on, especially with this one because itâs so technical, the whole thing [with] the chases and stuff. So that was quite hard to sort of understand what was going on from reading it, but John [Lasseter] is the person that just walks you through the whole thing, and makes it possible to do it, really. Because first of all, he himself is just totally energizing and makes you so inspired and I just couldnât get over him from the moment that we met, and just talking to him about it all and seeing his little eyes light upâlike heâs so obsessed by the world of this movie, and Iâm sure any movie that he makes, and itâs just catching. You get completely drawn into it. He loves the details of it, and loves just allowing his imagination to run wild. And so thatâs just exciting, from the moment youâre in there you feel like âThis is cool, Iâm so pleased to be a a part of this. This man is amazing!â And then he conjures up each scene and tells you whatâs going on. I had kind of a hard time with that, because itâs slightly like listening to directions, you know that thing where youâre in a car and youâre on your way somewhere and you just stop listening at the moment that you absolutely must listen to what theyâre saying! But for some reason you just end up looking at their necklace or something! It was a bit like that with this because it was so technical, some of it, and I couldnât really visualize quite a lot of these chases, and also Iâm not car-savvy. Iâm sort of stereotypically girly about cars, I donât really knowâyou know theyâre all getting such a kick out of all the different cars, and what that means, and the lemons, and the this and Iâm just like (under her breath) âI donât know what the fuck youâre talking about.â That was quite a challenge, but in terms of acting the scenes he is really into that, and he is soâI think he has a real love for the Mater character. He sort of feels a kinship with that particular character, and so he gets just totally into acting the part. And so in a way itâs just like doing a scene with somebody, because heâs loving being Mater so much.
Did he only voice Mater?
Mortimer: No, he voiced all the cars. But pretty much all my dialogue is with Mater or with Finn McMissile, with Sir Michael Caine. I had already worked with him in a real way (laughs), I mean Iâd actually been in a room with him and acted with him, so I could sort of conjure him up in my head somewhere. And then thereâs Brad [Lewis] too, heâs the co-director. So he was there too for most, if not all of the sessions, and he does a lot of the voices too and gets really into it.
How long does the voice process take? Do you do it over a period of years where you keep coming back, or is it a short round of sessions?
Mortimer: I think this one was quite quick, comparatively. I got the feeling that this one was done in a shorter time than most, but still it was a year. But I did like 7 sessions, or 8 sessions in a year.
Youâve done the voice of Sophie in Howlâs Moving Castle before. So how was it compared to this one? Was it easier?
Mortimer: It was different because on that one, it was to an existing movie. I was dubbing the voice of an actress that was already in the world. So there was something to look at, which made it easier in some ways just because you knew where you were and there were things to react to. But it was confusing in other ways because I was having to lip sync to a cartoon character, which is weird in itself, and then to a cartoon character that I hadnât developed. So it was coming at it from the other way. And also they were playing it all the time, I kept hearing this high little Japanese voice (laughs) doing this brilliant performance but it was just so not me. I kept thinking, âOh God I canât do this! Am I meant to copy that?â So that was kind of a bit confusing, but this wasâalthough hard not to have a visual thing in front of youâit was more collaborative and organic and you felt involved from the very beginning, and part of a process, an ongoing sort of process where the thing grows and becomes something from the very nascent early stages. Even to the point where they video you in the first few sessions, they record you on tape doing your voice. And itâs weird, in order to do the voice, itâs very unlike most film acting where youâre trying to kind of keep it down a bit and keep it subtle and real, this doesnât work that way. In animation, you have to do it much more than you first think. That was my problem at first, I was giving these sort of subtle little readings and he was just like âNo, no itâs got to be bigger,â and I was like âReally? I canât, this is gonna be so embarrassing.â Itâs almost like being on stage and really sort of throwing your voice, and just committing to something quite strong, and you do a lot of gesticulating because youâre trying to kind of get it right, and literally you become animated doing it. And so I think they get a lot from seeing you do that when theyâre videoing you. And then I met my animator yesterday. She had watched all my movies! I mean itâs amazing, theyâre just such professional, committed people. You realize when theyâre videoing you, âOh my God I really am part of this. Theyâre really interested in me, and what I can bring to this character,â and that gives you the confidence to in a way to just be yourself as much as possible. Because I guess thatâs kind of what they want, [theyâre] picking up on real characteristics that belong a real person.
You recently just worked with Martin Scorsese again on Hugo Cabret. What was that process like and how is he different when shooting in 3D?
Mortimer: Well Iâm just so excited about that. I took [my son] Sam onto the set of that and it was a bit like bringing him [to Pixar], I felt like heâs just gonna remember this forever. And he will not just remember it because he had an incredible time seeing it, but because it will be an historic moment in cinema, I think. I mean I hope Iâm not overdoing it. But I just feel like, this is what differentiates someone Martin Scorsese from most filmmakers is that he has the balls and the curiosity and, in a way like John Lasseter, the imagination to want to use 3D. Heâs the first really auteur director to have shot a film in 3DâI mean I know that Hitchcock did it in like the 50âs, he did Dial M for Murder I think in 3Dâbut most people, including myself, people who are sort of cinephiles and things, weâre more conservative than we really ever think and care to admit. So like 3D to me, up until Scorsese has the guts and the curiosity and the passion to be at the vanguard of this new thing, Iâve just thought of it as just a kids thing that makes me feel a bit sick when Iâm watching it. But he doesnât see it that way, he sees it as there are moments in cinema where the technology becomes available to do something different and new, and if youâre somebody thatâs interested in cinema and the history of cinema, you should be using that cinema to make a movie. I think that heâs a real revolutionary in that sense, like heâs there at the front pioneering it, and I donât think a lot of other filmmakers or auteurs would have the guts or the curiosity to do that. Just seeing him there on that set just loving every second of it, he was just like a kid in a sweet shop kind of, just so amazed by getting to do this whole new thing. It was really really cool.