Comments on: The many faces of Coraline http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/ The daily journal of a puppeteer and SF author. Sun, 12 Feb 2012 04:21:00 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Mary Robinette Kowal http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/comment-page-1/#comment-13308 Mary Robinette Kowal Sat, 18 Aug 2007 23:46:52 +0000 http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/#comment-13308 Happy to amuse. Happy to amuse.

]]> By: Brisa http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/comment-page-1/#comment-13307 Brisa Sat, 18 Aug 2007 23:41:58 +0000 http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/#comment-13307 hi i enjoyed the read hi i enjoyed the read

]]> By: Mary Robinette Kowal http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/comment-page-1/#comment-13181 Mary Robinette Kowal Thu, 16 Aug 2007 18:20:56 +0000 http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/#comment-13181 I'll admit that I cheated to deliberately evoke that response. I'm a bad person. At the start of the video, I cocked her head to make her appear to be <em>looking </em>at the viewer. In puppetry, focus indicates thought and that simple turn is enough to give the illusion of thought. This is part of the power of puppetry. Because the thing is inanimate, the viewer must invest part of themselves in believing that the character is alive. If I had a ball of paper and rapped it against the table, you would not have winced. By giving her life, I emphasized the fragility of the form, which makes it, in turn, seem stronger at the end. That's also why I cocked her head again at the end, instead of just showing that there was no damage. Thanks for letting me know my little tricks worked. I’ll admit that I cheated to deliberately evoke that response. I’m a bad person. At the start of the video, I cocked her head to make her appear to be looking at the viewer. In puppetry, focus indicates thought and that simple turn is enough to give the illusion of thought.

This is part of the power of puppetry. Because the thing is inanimate, the viewer must invest part of themselves in believing that the character is alive. If I had a ball of paper and rapped it against the table, you would not have winced. By giving her life, I emphasized the fragility of the form, which makes it, in turn, seem stronger at the end.

That’s also why I cocked her head again at the end, instead of just showing that there was no damage.

Thanks for letting me know my little tricks worked.

]]> By: mark heath http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/comment-page-1/#comment-13180 mark heath Thu, 16 Aug 2007 18:11:33 +0000 http://www.maryrobinettekowal.com/journal/the-many-faces-of-coraline/#comment-13180 I'm always amazed by our hard-wired ability to recognize and respond to the human face, even when the human is a cartoon frog, or the fortified geometry of a puppet head. Already Coraline looks alive and animated. When you tapped her head against the table to demonstrate the boney strength of folded paper, I winced; luckily, she rebounded with a smile. I’m always amazed by our hard-wired ability to recognize and respond to the human face, even when the human is a cartoon frog, or the fortified geometry of a puppet head.

Already Coraline looks alive and animated. When you tapped her head against the table to demonstrate the boney strength of folded paper, I winced; luckily, she rebounded with a smile.

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