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"In Zootopia, anyone can be anything."
ADVANCE
In its 92-year history, Walt Disney Animation Studios has created a long and storied legacy of talking-animal films—from Mickey Mouse's debut short "Steamboat Willie," to "Bambi," "Dumbo," "The Jungle Book," "Robin Hood" and "The Lion King." Walt Disney Animation Studios returns to the wild with next spring's feature film "Zootopia." "We all grew up watching the great Disney animal films—we were immersed in those worlds," says director Byron Howard. "My favorite childhood film was 'Robin Hood,' and we wanted to honor that legacy, but in a new and different way that dives even deeper. We started by asking, 'What would a mammal metropolis look like if it were designed by animals?' The idea was incredibly exciting to us."
Zootopia is a city like no other that's comprised of neighborhoods that celebrate different cultures. There's ritzy Sahara Square for desert animals, Tundratown for the polar bears and moose, the hot and humid Rain Forest District, Little Rodentia for the the tiniest mice, and Bunnyburrows for the millions and millions of super cute bunnies. The downtown area, Savanna Central, is a melting pot where a wide array of mammals from every environment come together—a place where no matter what you are, from the biggest elephant to the smallest shrew, you can be anything. But when rookie officer Judy Hopps arrives, she discovers that being the first bunny on a police force of big, tough animals isn't so easy. Determined to prove herself, she jumps at the opportunity to crack a case, even if it means partnering with a fast-talking, scam-artist fox, Nick Wilde, to solve a mystery.
"At its core, 'Zootopia' is a buddy movie," says director Rich Moore. "Judy and Nick—a rabbit and a fox—are natural enemies by definition. So these characters don't exactly get along at first. They come to the relationship with ideas about each other—beliefs that aren't informed or accurate."
According to Howard, the fact that the buddies don't get along fuels the film's comedy. "Judy is the eternal optimist who believes anyone can be anything—it's the city's motto, after all," he says. "Nick is the complete opposite. He's a cynic. He believes we are what we are. So we put this country bumpkin who's full of vim and vigor in the middle of the big city alongside Nick—the realist—and he gets to have a lot of fun messing with her. But she has a few tricks up her sleeve."
Filmmakers conceived and built the vast and detailed world of Zootopia, populating it with 50 different species of animals that retain what makes each animal so amazing in the real world, but these animals talk and wear pants. "The team spent 18 months just researching animals," says producer Clark Spencer. "We met with animal experts from all over the world, including Disney's Animal Kingdom at Walt Disney World. We traveled 9,000 miles to Kenya, Africa, for a two-week deep dive into animal personality and behavior. We wanted each species of animal to be real, to feel authentic and to be based on their real behavior."
"I think all of us were profoundly changed by our trip to Africa," adds Jared Bush, who's co-director and one of the screenwriters. "It's such an amazing experience, being around the hundreds, thousands of animals. In this movie, we want to feel that density, which is a lot of work. We came back after that trip with a sincere need to make it right."
"Zootopia" features a remarkable roster of voice talent tapped to help bring the mammal metropolis to life, including Ginnifer Goodwin (ABC's "Once Upon a Time," "Something Borrowed," "Walk the Line") as rookie rabbit officer Judy Hopps. "Ginnifer has such a sweet nature to her," says Moore. "But she's tenacious, just like Judy, and she's got some great comedy chops, too. She knows how to play a wholesome character in a funny way. She understands exactly what makes Judy funny."
Jason Bateman ("Horrible Bosses 2," "This is Where I Leave You") voices the con-artist fox, Nick Wilde. "Nick isn't exactly a nice guy," says Bush. "But Jason Bateman somehow makes him likable, appealing and oddly charming. Nick is sarcastic and hilarious in a Jason Bateman kind of way."
Also included in the voice cast are Shakira as Zootopia's biggest international pop star Gazelle, Idris Elba (Netflix's "Beasts of No Nation," BBC's "Luther") as Judy's no-nonsense cape buffalo boss Chief Bogo, J.K. Simmons ("Juno," Oscar® winner for "Whiplash") as Mayor Lionheart, and Nate Torrance (HBO's "Hello Ladies," Fox's "Weird Loners") as charming cheetah Clawhauser. The voice cast also features Jenny Slate ("Obvious Child," "Marcel the Shell") as Assistant Mayor Bellwether, Tommy Chong ("Up in Smoke," "That '70s Show") as Yax the Yak, Octavia Spencer ("Insurgent," Oscar® winner for "The Help") as a distraught Mrs. Otterton, and Bonnie Hunt ("Return to Me," "Jerry Maguire") and Don Lake ("Dumb and Dumber To," "The Bonnie Hunt Show") as Judy's anxious, but supportive parents.
Rounding out the cast are Alan Tudyk ("Rogue One: A Star Wars Story," "Trumbo") as Duke Weaselton, Tommy "Tiny" Lister ("Friday," "The Fifth Element") as Finnick, Raymond Persi ("Wreck-It Ralph," WDAS story artist) as Flash the sloth, Katie Lowes (ABC's "Scandal," "Big Hero 6") as Dr. Madge Honey Badger, Jesse Corti ("Frozen," "Beauty and the Beast") as jaguar Manchas, and John DiMaggio (Fox's "Futurama," Cartoon Network's "Adventure Time") as elephant ice cream shop owner, Jerry Jumbeaux Jr.
"We feel fortunate to have this caliber of talent—they've really embraced all of this story's heart and humor in a way I don't think we've seen before," says Spencer. "I think we have something special happening, which is exciting."
Walt Disney Animation Studios' "Zootopia" is directed by Howard ("Tangled," "Bolt") and Moore ("Wreck-It Ralph," "The Simpsons"), and produced by Spencer ("Wreck-It Ralph," "Lilo & Stitch"). Bush ("Penn Zero: Part-Time Hero") is co-director and one of the screenwriters. John Lasseter is executive producer. "Zootopia" opens in theaters on March 4, 2016.
A BIG IDEAFilmmakers Balance Complex Theme with Authenticity, Fun and Adventure
Research is the foundation for all of Walt Disney Animation Studios' films—something executive producer John Lasseter believes is required to create a great story. So when the filmmakers behind "Zootopia" decided to create an all-animal world, they went into the wild—literally—when it came to research. "We did about 18 months of really solid research into animals," says director Byron Howard. "We studied how they interact in the wild, how they socialize and how their individual communities are built in the natural world.
"We found that the majority of animals—90 percent—are prey," continues Howard. "Only 10 percent are predators. So while we always assumed that predators ruled the animal world, they're actually the minority. We talked to anthropologists and sociologists and took a look way back through human history—any time you have a majority and minority, social issues arise. We learned and observed that animals of all kinds tend to stay with animals that look like them; they find refuge and protection within their individual groups and tend to avoid animals that are different."
So the research led the filmmakers to a story that deals with stereotypes and bias. "We set out to make a funny animal movie," says Howard. "But the more digging we did, we saw an opportunity to talk about something important—while still having great fun with the world, the characters and the story."
According to director Rich Moore, the key was in finding the right balance. "We worked very hard to find that sweet spot—telling a very rich story that's entertaining, has heart and says something meaningful."
"We talked to an incredible bias expert, Shatki Butler," adds producer Clark Spencer, "who said that it is hard to be biased against someone once you get to know him. That fundamental idea folded beautifully into our story of a bunny and a fox, natural enemies, both assuming something about each other, but learning their assumptions are completely wrong once they are forced to team up."
A BIG MOVEEver since she was a young bunny, Judy Hopps has wanted to be a police officer. The odds are against her, of course, because a bunny has never joined the Zootopia Police Department—or even dared to try. The cops in Zootopia are all big animals like rhinos, elephants and hippos. But that's not going to stop Judy. "She has a strong sense of justice," says Moore. "She stands up for the little guy, she doesn't like bullies and she really takes to heart the motto of the big city: In Zootopia, anyone can be anything."
However, it's not going to be easy. Judy isn't built to be a police officer—or at least that's what everyone thinks. But once she realizes that as a bunny, she has certain skills that will allow her to succeed, she soars through training, graduating at the top of her class. "Because of her performance," says Howard, "Mayor Lionheart recognizes her, giving her the choice placement for a cadet: Precinct 1, Central Zootopia, which is the toughest, most important precinct in town."
But Judy's boss, Chief Bogo, is a no-nonsense cape buffalo who's unimpressed by her academy record. He doesn't want a bunny on his force. So instead of giving her a high-profile assignment, Bogo puts her on parking duty. "But she decides to be the best meter maid ever," says Howard. "By using her incredible hearing to her advantage, she issues 200 parking tickets before noon on her very first day."
Just as Judy is starting to feel good about her meter maid assignment, she encounters a suspicious-looking fox, Nick Wilde. Judy's parents always told her that foxes were sly and untrustworthy, and Nick seems to living up to the stereotype. "He's lived in the city his whole life," says Moore. "Nick believes that you are what you are—there's no point in fighting it. If everyone is going to assume he's a con artist, he'll be the best con artist he can be. And as far as Nick is concerned, Judy is nothing more than a rabbit from the country—and he's not afraid to tell her that her dream of being a real cop is never going to happen."
Judy gets her big break, however, when Chief Bogo is forced to give her a case. "Some mammals have gone missing," says Jared Bush, who's co-director and one of the screenwriters. "One of them is Mr. Otterton, and Mrs Otterton is desperate to find him. But because there are several other missing mammals, Chief Bogo is not giving her case the kind of attention she'd like. So Judy volunteers to help."
Despite his better judgment, Bogo decides to allow Hopps to work the case, but he makes her strike a deal: she has 48 hours to solve the case or she has to resign from the police force. This is exactly what Chief Bogo is hoping will happen. Judy accepts the challenge and hops into action, eager to make her mark—until she uncovers her first clue. "At some point prior to disappearing, Mr. Otterton had contact with Nick Wilde," says Bush. "That's her only lead. So she has to con the con man Nick into helping her, which kicks off this crazy journey with two total opposites trying to work together—or not."
BUILDING A CITYFilmmakers Summon Their Inner Animals to Build a City for All Sizes
To Judy Hopps, Zootopia is a place where dreams come true. "Judy's always looked at Zootopia as this glimmering city where she can be anything—where she can make a difference," says director Rich Moore. "But it's a long way from Bunnyburrow."
As ideas for "Zootopia" took shape, filmmakers realized that the elaborate world they imagined had legs—of all shapes and sizes. "We have tiny shrews living among rhinos and elephants," says producer Clark Spencer. "We wanted to be true to the real scale of the animals—something rarely done in animated animals films. So our world has to accommodate animals of all sizes in a clear and creative way."
The team of artists, technicians and storytellers came together to build a multifaceted city that features tiny transport systems within larger ones, and a network of interlaced tubes, ramps, escalators and entryways big and small. The city is home to animals of not only varying sizes, but also varying needs. "Zootopia is made up of many different environmental districts," says director Byron Howard. "Each district is designed for a specific type of animal—the look, the climate, everything reflects the habitat the animals need to thrive. And by bringing all these environments, all these different kinds of animals together in one big melting pot of a city—we create opportunities and relationships between animals that wouldn't otherwise be possible."
According to production designer David Goetz, filmmakers had to think like animals to design the city. "The trick with Zootopia is that it's a world built by the animals who live there—not by humans. We used really organic shapes that feel different than what we might expect. Given the same technology and know-how that we humans have, how would a camel design Sahara Square? What would a polar bear put in Tundratown? We also added elements that people would recognize to make it feel metropolitan and relatable."
Inspired by cities like New York and London, artists blended traditional cityscapes with global influences and animal infusions. For example, Tundratown sports onion-shaped domes in a nod to Russian architecture, and the Zootopia train station features an interior tropical garden inspired by Madrid's Central station, but with horn-shaped towers. With a Southern California-like central climate, Zootopia features artificial climate zones to accommodate the variety of inhabitants. Extensive research provided the logic behind placing opposing climates in adjoining neighborhoods. Says Goetz, "We asked, 'How do you put a tundra and a desert next to each other?' Well, the answer is rather simple. You build a massive air conditioning wall that separates the two environments. Just like our own air conditioners, one side blows out cold air, cooling Tundratown, while the other side blows out hot air to heat Sahara Square."
THE BIG SIXWhile the possibilities were endless—and explored—filmmakers had to narrow down the districts of Zootopia. Ultimately, they settled on six key areas, giving each a specific color palette and details.
Sahara Square is made up of sand dunes and buildings that are shaped like sand dunes. "The heart of Sahara Square is inspired by Monte Carlo and Dubai," says Matthias Lechner, art director of environments. "We learned that desert animals are mostly nocturnal because it's too hot during the day. So we built lots of nighttime activities—casinos and a giant palm-tree hotel with an oasis surrounding it."
Sahara Square features a warm palette of reds, oranges and yellows.
Tundratown, constructed mainly of snow and ice, features a cool color palette with blues and teals. "There are giant snow blowers," says Lechner. "They go off periodically—they're part of the climate control. Nothing ever thaws. We have floating blocks of ice instead of moving sidewalks. Cars are on skis."
Designers added spots of color with strategically placed neon lights, playing with reflections and shadows to add interest and dimension to the area.
The Rain Forest District is home to hundreds of giant, bright, jungle-green steamer trees—artificial trees that mechanically suck up water from a river to create the steamy atmosphere required by the locals. "The rain forest is a vertical environment with walkways, bridges and gondolas," says Lechner.
According to Goetz, the sheer number of trees—more than half a million—illustrates one of the many major advances in technology that allowed the artists to create the incredible detailed environments in Zootopia.
Bunnyburrow, Judy Hopps' hometown, is inhabited mostly by carrot farmers like Judy's parents. Vast, sprawling open space contrasts with the busy city streets of Zootopia.
"It's a very rural part of this world," says Howard. "It's about 200 miles away from the city of Zootopia. If Zootopia were Manhattan, Bunnyburrow is like Yonkers—way out in the country. Bunnies are born there and live out their lives there. Nobody quite understands why in the world Judy would want to leave—and move to the big city of all places."
Savanna Central houses Zootopia Police Department (ZPD), City Hall and Central Station, the bustling train station where Judy Hopps lands when she first arrives in town. Modeled in part after Disneyland's hub-and-spoke design—Savanna Central is Zootopia's central hub. "It's our version of the watering hole," says Goetz. "Animals from each of the districts converge here."
Details include a central water feature and a savanna theme with acacia trees and warm tones: oranges and grays with olive foliage.
Little Rodentia is where Zootopia's smallest mammals reside. "It is an entirely tiny town with rodent-sized housing, shops and streets," says Lechner. "It's surrounded by a big fence so that big animals can't walk through it."
It may be small, but Little Rodentia has all of the big-city luxuries, including a chic hair salon that caters to tiny high-end clientele.
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