DreamWorks Animation’s “The Bad Guys 2” is largely defined by its oversized set pieces. The sequel, based on the beloved book series by Aaron Blabey and directed, like the first film, by Pierre Perifel, has even grander action sequences that push the animal thieves, led by Sam Rockwell’s Big Bad Wolf, into uncharted territory — including, in the movie’s climax, outer space. Tom Cruise would be proud.
But one of the most impactful moments of the movie is also one of its quietest. After a spy operation gone wrong, which sends an entire arena’s worth of luchador fans after the titular gang, Wolf makes a phone call to his presumed love interest, Diane Foxington (Zazie Beetz), a onetime crook who is now the state’s governor. He’s at a lonely pay phone in the middle of the desert; the lighting is intense and the mood is desolate. It’s odd to flash to Wim Wenders’ mournful “Paris, Texas” while watching an energetic animated movie, especially one that spends a long time on a gag where a character farts in a space suit, but here we are.
As it turns out, the sequence was always important to Perifel. “Interestingly enough, this scene was there, literally from when I started thinking about the story,” he said. “Because from very early on, I knew I wanted Diane and Wolf to end up together. We’d been feeding this. They were such a great couple. But the problem is, our bad guys were on the lam, so there was no way that she was with them. I needed a scene halfway through the story to get them together without being together. Very early on, I sketched that idea of Wolf trying to use a phone that nobody can track.”
As he staged the sequence, Perifel conceived of a camera move that would mirror both characters. “The camera just starts wide and then slowly, across the cuts, comes in closer and closer and parallel between him and her, and then comes very close and lines up so that at the end their muzzles are facing close to each other,” he said.
“It’s almost like a kiss. I really wanted to show that connection. I wanted to play with whatever is not said in between the lines of dialogue, where you can tell that they are talking about something and she’s really worried and they really care for each other.”
Both the distance and the connection between the characters are reflected in the lighting for the scene. “Every scene that we have in this movie, we try to take a very clear lighting and mood direction,” Perifel said. “Every scene is very moody.”
For Wolf’s side of the scene, the team emphasized a “shower light on top of him”; for Diane’s side, they contrasted that with her warmer environment, bathed in the glow from the television.
“There was the idea to immerse our characters in their own environment,” he said. “That was the main point. What played in our favor, though, is that style of lighting for ‘The Bad Guys.’ Because we’re stylized, characters have a rim light. The moment you have a rim light, you immediately can play them a bit more graphic.”
This story first ran in the Awards Preview issue of TheWrap’s awards magazine. Read more from the issue here.
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