Download Film Coco 2 [PATCHED]

Coco is a 2017 American animated fantasy film produced by Pixar Animation Studios and released by Walt Disney Pictures. It was based on an original idea by director Lee Unkrich, co-directed by Adrian Molina, and produced by Darla K. Anderson, from a screenplay written by Molina and Matthew Aldrich, and a story by Unkrich, Molina, Aldrich, and Jason Katz. The film stars the voices of Anthony Gonzalez, Gael Garca Bernal, Benjamin Bratt, Alanna Ubach, Rene Victor, Ana Ofelia Murgua, and Edward James Olmos. The story follows a 12-year-old boy named Miguel (Gonzalez) who is accidentally transported to the Land of the Dead, where he seeks the help of his deceased musician great-great-grandfather to return him to his family among the living and to reverse his family's ban on music.

Coco premiered on October 20, 2017, during the Morelia International Film Festival in Morelia, Mexico.[8] It was theatrically released in Mexico the following week, the weekend before Da de Muertos, and in the United States on November 22, 2017. The film received acclaim for its animation, voice acting, music, visuals, emotional story, and respect for Mexican culture. It grossed over $814 million worldwide, becoming the 16th highest-grossing animated film ever at the time of its release.[9][10][11][12] Coco received two awards at the 90th Academy Awards and numerous other accolades. The film was chosen by the National Board of Review as the Best Animated Film of 2017.

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Many years later, Imelda's great-great-grandson, Miguel, now lives with the elderly Coco and their family, including Miguel's parents and his grandmother, who are also shoemakers. Despite his family's music ban, Miguel secretly idolizes the deceased musician Ernesto de la Cruz and teaches himself to play guitar by watching Ernesto's old films. On the Day of the Dead, Miguel inadvertently bumps into the family ofrenda, breaking a frame containing a photo of Imelda and an infant Coco. He discovers a hidden section of the photograph that shows his great-great-grandfather, whose head has been torn from the photo, holding Ernesto's famous guitar. Believing this proves Ernesto is his relative, Miguel tells his family he will become a musician.

The animal characters Dante and Pepita are alebrijes, spirit guides in this film. Dante is a Xoloitzcuintle with bird-like wings in his alebrije form. Pepita is a cat whose alebrije form gives her the head, torso, and front paws of a jaguar, the horns of a ram, the wings and hindlegs of an eagle, and the tail of an iguana.

Lee Unkrich first pitched an idea for the film in 2010, when Toy Story 3, which he also directed, was released.[14] Initially, the film was to be about an American child, learning about his Mexican heritage, while dealing with the death of his mother. Eventually, the team decided that this was the wrong approach and reformed the film to focus on a Mexican child instead.[24] Of the original version, Unkrich noted that it "reflected the fact that none of us at the time were from Mexico".[24] The fact that the film depicted "a real culture" caused anxiety for Unkrich, who "felt an enormous responsibility on [his] shoulders to do it right".[24]

The Pixar team made several trips to Mexico to help define the characters and story of Coco. Unkrich said, "I'd seen it portrayed in folk art. There was something about the juxtaposition of skeletons with bright, festive colors that captured my imagination. It has led me down a winding path of discovery. And the more I learn about [el] Da de los Muertos, the more it affects me deeply."[25] The team found it difficult working with skeletal creatures, as they lacked any muscular system, and as such had to be animated differently from their human counterparts.[26] Coco also took inspiration from Hayao Miyazaki's anime films Spirited Away (2001) and Howl's Moving Castle (2004) as well as the action film John Wick (2014).[27]

In 2013, Disney requested to trademark the phrase "Da de los Muertos" for merchandising applications. This was met with criticism from the Mexican-American community in the United States.[28] Lalo Alcaraz, a Mexican-American cartoonist, drew a film poster titled Muerto Mouse, depicting a skeletal Godzilla-sized Mickey Mouse with the byline "It's coming to trademark your cultura."[29] More than 21,000 people signed a petition on Change.org stating that the trademark was "cultural appropriation and exploitation at its worst".[28] A week later, Disney canceled the attempt, with the official statement saying that the "trademark filing was intended to protect any title for our film and related activities. It has since been determined that the title of the film will change, and therefore we are withdrawing our trademark filing."[30] In 2015, Pixar hired Alcaraz to consult on the film,[29] joining playwright Octavio Solis and former CEO of the Mexican Heritage Corp. Marcela Davison Aviles, to form a cultural consultant group.[14]

Unkrich found writing the script "the toughest nut to crack".[31] Earlier versions of the film had different universe rules regarding how Miguel (originally called Marco) would get back from the land of the dead; in one case he physically had to run across the bridge. In one version of the story, his family is cursed with singing when trying to speak, which was included as a technique to add music to a story where music is banned.[32]

In 2016, the Coco team made an official announcement about the cast, which revealed that Gael Garca Bernal, Benjamin Bratt, Rene Victor, and Anthony Gonzalez would voice the characters.[37] Bratt, who voiced De la Cruz, was "moved" when he realized that Disney-Pixar wanted to make a film on Latin culture.[38] Disney officials closely monitored Bernal's movements and expressions while he voiced the characters and used their input for animating Hctor.[39]

Bratt voiced Ernesto de la Cruz, a character who he described as "the Mexican Frank Sinatra"; "[a] larger than life persona".[40] On the advice of the filmmakers, Bratt watched videos of equivalent Mexican actors including Jorge Negrete and Pedro Infante. Bratt found the character similar to his father in physical appearance, "swagger and confidence", and worked in the film as a tribute to him.[41] The character Mama Imelda's voice was provided by Alanna Ubach. Ubach said that the film "is [giving] respect to one quality that all Latin families across the universe do have in common, and that is giving respect and prioritizing the importance of family". Mama Imelda's voice was influenced by Ubach's ta Flora, who was a "profound influence in [her] life". Ubach said her ta was the family's matriarch, and dedicated the film to her.[42]

A cameo appearance was made by Marvel's Agents of S.H.I.E.L.D. actress Natalia Cordova-Buckley as Mexican artist Frida Kahlo.[21] Unkrich stated that Cordova-Buckley's "role in Coco pays homage to Ms. Kahlo, her work and the people of Mexico who love her".[43] Unkrich also stated that it was a struggle to find a role in the film for John Ratzenberger, who is not Latino but had voiced a character in every Pixar feature film. As Unkrich did not want to break Pixar's tradition, Ratzenberger was given a minor role with one word.[22]

On April 13, 2016, Unkrich announced that they had begun work on the animation.[44] The film's writer, Adrian Molina, was promoted to co-director in late 2016.[14] Unkrich said that Pixar wanted "to have as much contrast between" the Land of the Living and the Land of the Dead and that many techniques were used to differentiate the worlds. Color was one: "Given the holiday and the iconography, [Pixar] knew the Land of the Dead had to be a visually vibrant and colorful place, so [they] deliberately designed Santa Cecilia to be more muted" said Unkrich.[3]

According to Harley Jessup, the film's production designer, Santa Cecilia is based on real Mexican villages, as the production team "stayed grounded in reality in the Land of the Living". Chris Bernardi, the film's set supervisor, said that the town was made small so Miguel could feel confined. Bert Berry, the film's art director, said that aged building materials were used to depict Santa Cecilia "as an older charming city".[3] According to Unkrich, Miguel's guitar playing is authentic, as they "videotaped musicians playing each song or melody and strapped GoPros on their guitars" to use as a reference. For the scene in which Miguel plays music in his secret hideout, the filmmakers used "very elegant, lyrical camera moves" and "gentle drifts and slow arcing moves around Miguel as he plays his guitar with very shallow depth of field to enhance the beauty of the soft-focus foreground candles".[3]

Christian Hoffman, the film's character supervisor, said that all of the details in Mama Coco's face were not modeled. Instead, his team used special software to design separate layers of detail, which were then added to her face with a shader. The character's model was made with higher resolution to get all the wrinkles right, according to Hoffman.[3] Pixar used some Xolo dogs as a reference for the character Dante, while a tentacle from Finding Dory's Hank was used for his tongue.

According to art director Daniel Arraiga, the animators "had to figure out how to give [the skeletons] personality without skin, muscles, noses or even lips" and that they "played with shapes and did a lot of paintings. [They] sculpted and studied skulls from every angle to figure out where [they] could add appeal and charm". Global technology supervisor J.D. Northrup was hired early in the film's production to avoid potential issues in the film's animation process. Northrup said "Each [of the skeletons' pieces] had to be independent so the complexity of the rig and the stress that it puts on the pipeline were something like we've never seen before." Northrup was also tasked with simplifying the skeleton's elements to render the skeleton crowds. To create the skeletons, several additional controls were used, as they "needed to move in ways that humans don't," according to character modeling and articulation lead Michael Honse. Honse said that the bones were a particular problem, stating that "there was a lot of back-and-forth with animation to get it right," but found "really cool ways" to move the skeletons.[3] ff782bc1db