TOO BAD: FROM THE PAGES OF AARON BLABEY TO THE AMAZING CINEMATIC FILM

No one has ever failed so miserably to become as good as Too Bad .

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A new masterpiece from DreamWorks Animation , distributed by Universal Pictures and signed by director Pierre Perifel , based on the best-selling book series created by Australian writer Aaron Blabey, arrives in cinemas, premiered on March 27 and in all cinemas from March 31 . .

Too Bad to Be Good?

In this new animated action comedy, a world-class gang of criminal and outlaw animals are about to try their hardest shot ever… becoming model citizens.
There have never been five friends as well-known as the Too Bad – the charming pickpocket Mister Wolf ( Andrea Perroni ), Mister Snake the burglar who saw them all ( Edoardo Ferrario ), the icy master of disguise Mister Shark ( Francesco De Carlo ), the “muscular” Mister Piranha ( Valerio Lundini ) and the expert hacker with a sharp tongue Miss Tarantula (Margherita Vicario ), aka “ Web “.
But when, after years of countless robberies and being the most wanted criminals in the world, the gang is finally captured, Mister Wolf decides to make a deal (which he has no intention of keeping) to save them all from prison: the Too Bad will become good.
Under the guidance of their mentor, Professor Jam ( Saverio Raimondo), an arrogant (but adorable!) guinea pig, Too Bad Guys will pretend to the world that they have turned into good. Along the way, however, Mister Wolf begins to understand that doing good for real can give him what he has always secretly wanted: acceptance. So when a new villain comes to town, Mister Wolf will be able to convince the other gang members to become … Good? In the Italian cast of the film also Paola Michelini who gives the voice to the Governor Foxington .
The film’s original language cast includes the voices of Sam Rockwell, Marc Maron, Craig Robinson, Anthony Ramos, Awkwafina, Richard Ayoade, Zazie Beetz, Lilly Singh and Alex Borstein.

Filled with adrenaline-pumping energy and witty cultural references, the film represents a bold, elegant and new artistic breakthrough for DreamWorks Animation, successfully adapting the heist genre to families, instilling energy and freshness throughout. The fast and energetic pace, the innovative and beautiful sets, the cartoon elements in a pure CG animation, the lights, the soundtrack, the perfect cast … all this contributes to an immersive experience that has an intensity different from all other animated films.

From best seller to modern animated classic

Too Bad was born as a series of books ( The Bad Guys ) by the Australian writer Aaron Blabey, published by the Scholastic publishing house, which many studios wanted to option in 2017.

Says producer Damon Ross :

I knew the book series had been hugely successful in Australia, but I didn’t know if it would work here in the United States. Aaron came to town to meet all interested parties and we did our best to convince him that Dreamworks was the place for Too Bad. My commitment to him has been, ‘We will make the film a book-plus experience – that is, we will capture the essence and spirit of the books and at the same time we will exalt them so that the characters, the story and that world don’t just appeal. the children.’

After a year and a half of developing the materials, DreamWorks hired screenwriter Etan Cohen to adapt the books. It was a first choice that the production aimed a lot. He had films such as Tropic Thunder , Idiocracy on his resume , as well as Madagascar 2 for Dreamworks, for which he had experience in animation and had previously worked with DWA, plus he had also written iconic comedies for adults. He would respond to the buffoonery and comedy character of the books by having the ability to exalt them and bring them to a wider audience.
Cohen’s script is not a direct adaptation of the first book in the series, having included elements from the first four books of the saga.
Director Pierre Perifel ‘s commitment to the film began almost by accident. During the development of Too Bad, Ross was working with Perifel on another project that was on hiatus at the time. One day, Perifel walked into Ross’s office and pulled out a sketch of the central gang of Too Bad. Instead of imitating Blabey’s drawings for the books, he had drawn his own interpretation of him, which Ross really liked, having captured the original spirit but giving it an original artistic twist. Reading the script, Perifel got hooked on the project. After a few weeks, Perifel showed Ross a generic idea, with the idea of ​​making a real concept trailer in a short time. The producer tells:

He started drawing and sketching, and it all started to take shape. Pierre was already a talented and experienced animator and was waiting for his chance as a director. He knew that to earn that role he had to prove he was capable and work. He then shut him up for five or six weeks and produced the storyboard for a professional trailer. This has never been done before at Dreamworks. He literally broke the mold.

For the director, even the most insignificant and brief moments in life can arouse mountains of ideas and inspirations:

The day I first laid eyes on the cover of ‘The Bad Guys’ is one of them. A Wolf, a Shark, a Snake and a Piranha in black suits lined up against an orange background. There was clarity and ingenious simplicity in the way he synthesized a great idea while making it both endearing and wickedly funny, and Etan Cohen had managed to capture the characters and tone of the books in such a beautiful way that it was immediately obvious that these Bad Guys had to become movie stars.

The world in which Mister Wolf and the gang moved was loudly demanding a change from what classic CG animated films usually offered. I used to see pictures of Steven Soderbergh, Guy Ritchie and Quentin Tarantino; I saw the masters of Japanese anime and the graphic buffoonery of the French graphic novels I grew up with – all along with the soundtracks of crime drama and the cool, jazzy swagger of British films. It was all there, and it was wonderful.

Perifel’s idea was to create a completely different look for this film from other DreamWorks films and animated films already on the market. He wanted it to have a more illustrative quality – stylized, pushed, a unique mix of 2D and 3D elements inspired by Japanese anime and European animation. This included the work of artists such as Akira Toriyama , Hayao Miyazaki , Stéphane Aubier , Vincent Patar and Benjamin Renner. One of the first important tasks was to put together a short ‘look test’ that would illustrate, at least as a guideline, the desired visual style. This work lasted six to eight weeks and resulted in a 90-second test, which once screened in the DreamWorks campus theater was a smash hit.