Quote:
Q: Can you tell us a bit about how you came up with your character designs?
John Kahrs: I felt that they could be Disney, but in a very slender, more old school way. I used [101] Dalmatians as a jumping off point. But there’s a lot of Ariel in Meg because Glen [Keane] was in there messing around, pushing that design to get it to work. A lot of what we did on Tangled taught us a lot about fitting baseball-sized eyes into humans [laughter]. It’s actually not very easy. I could go on and on about how to make these things work in CG. Actually, you can break those rules nicely when you go back to 2D. But I’m very happy.
George was kind of tough. I wanted him to seem like he was dateable [laughter]. He was a big-nosed guy but there was something cute about him. They [He and Meg, the female character] would seem like peers, that she would go for him, in that Adrien Brody kind of way [laughter]. But there are a lot of other faces in there. A young Anthony Perkins or Roger from Dalmatians. When you give your design to some of the designers, to finalize them, they are probably looking at a whole bunch of other people you never even thought of. And they won’t ever tell you. I almost don’t want to know.
Quote:
Q: Did your final film come close to your original ideas?
John Kahrs: The reason the film is called Paperman is because, there used to be, in that alley, what formed was a man, and his job was to bring them together. He was a hero character. He flew around the city, very mysterious. When he finally got them together, his work was done, so he disintegrated into the wind, with this kind of bittersweet lifecycle. But whenever I pitched it, people would go, “Whoa, whoa! Who is this guy? I don’t like him!” [laughter]. So I killed him off.
Source: http://www.awn.com/blogs/oscar-tour-tra ... ing-and-qa
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