Movies

‘The Legend of Ochi’ uses puppetry to bring a fantasy creature to life. For its makers, that’s where the magic is

BBG News

Deep within the dense woods on the imaginary island of Carpathia resides the Ochi, a primate with fiery orange fur. This creature expresses itself in unique whistles – a melodious language, if you can imagine it.

In the world of A24’s “The Legend of Ochi,” filmmaker Isaiah Saxon’s first movie, which hits theaters this Friday, these marvelous beings may not be real, but they were vividly and tangibly brought to life on set.

In simpler terms, the story follows Yuri, a brave teenage girl portrayed by Helena Zengel, as she endeavors to bring a baby named Ochi back to its mother. Caught in the middle are her father’s (Willem Dafoe) anxious concerns about Ochi, and her estranged mother (Emily Watson), who has devoted her life to studying these mysterious beings.

Entertainment & Arts

Packed with stunning practical effects, Saxon’s self-crafted films, which he refers to as “sculptural films,” feature music videos for Icelandic artist Björk. He gained her attention following his collaboration on the music video “Knife” for Grizzly Bear in 2007 with Sean Hellfritsch, through their L.A.-based studio Encyclopedia Pictura.

2008’s “Wanderlust,” created for Björk, featured puppets, computer-generated elements, breathtaking matte paintings (a skill Saxon is known for, as seen in “Ochi”), and live-action performers in 3D stereoscopic format. This production combines a tangible experience with an otherworldly sensation that seems almost unreal.

Initially, the idea of “Ochi” emerged for the 42-year-old Saxon, envisioning a bond between a child and an enigmatic, misconstrued entity. This duo is reminiscent of a common trope in cinema, famously portrayed by Steven Spielberg’s “E.T. the Extra-Terrestrial.” Interestingly, the director, who hails from the central Californian town of Aptos, reportedly didn’t watch this movie until he was in his 20s.

Initially, before designing the creature for “The Legend of Ochi,” Saxon pondered over two concepts – one large and lumbering, similar to a giant oaf, and the other resembling the sleeping Totoro from Hayao Miyazaki’s film. However, as he thought about the storyline, it became clear that for the creature to accompany Yuri on her travels, it should be small enough to fit inside a backpack.

As a passionate film enthusiast with an unusual interest in the elusive world of primates, I’ve often found myself captivated by the enigma of Sasquatch. However, for my latest project, I decided to focus on real-world primates, specifically the endangered golden snub-nosed monkey, native to the remote, rugged mountains of China. Their unique features and adaptations have served as my primary inspiration.

In a recent Zoom chat from Sebastopol, California, Saxon, with his boyish charm and feathery brown locks, expressed that the aim was to make it seem as though it’s a genuine part of nature, rather than something out of a film. He hopes that children will consider this as a possible real location and an undiscovered animal they might stumble upon one day.

Saxon enhanced the endearing charm of the snub-nosed monkey by making Baby Ochi’s eyes and ears larger. Although some initial critiques suggest that “Gremlins” movies or “The Mandalorian’s” Grogu (also known as Baby Yoda) might have influenced this, Saxon insists he has never been exposed to any of those works.

Regarding the main inspiration behind the practical creature in “Ochi,” Saxon recalls, it was the animatronic mouse from Nicolas Roeg’s darkly whimsical 1990 film “The Witches” that stirred him deeply. As a child, he considered this portrayal as an accurate adaptation of Roald Dahl’s work.

To create such magical in-camera effects, the filmmaker brought on board John Nolan Studio, a well-known London-based studio specialized in animatronics. They have worked on various projects, including the “Harry Potter” series and the latest “Jurassic World: Dominion”.

For Saxon, who initially aspired to be an illustrator and later attended film school, his decision to blend puppets with various other mediums in his work stems from a wish to challenge the audience’s perception of on-screen capabilities. “Our goal was to bewilder the spectators,” he explains, “to craft cinematic illusions that baffle your mind because you can’t comprehend what’s unfolding.

In film school, Saxon first developed a knack for creating character models (maquettes). This passion led him to master stop-motion animation techniques. Eventually, his skills progressed to designing puppets and prosthetics.

In that period, he encountered two pivotal individuals influencing his artistic growth: Daren Rabinovitch, a budding artist from Industrial Light & Magic – renowned for visual effects – who was crafting puppets for Wes Anderson’s “The Life Aquatic.” Additionally, there was Hellfritsch. Together, they founded Encyclopedia Pictura as a trio.

Saxon recalls that they grew fond of each other’s artistic creations, leading them to collaborate on filmmaking. However, they were not content with limiting their work to being solely animated, live-action, or any one style.

In 2018, Saxon initially secured development funds and teamed up with John Nolan and his crew to create an early version of the Baby Ochi puppet. His initial sketches were then transformed into 3D digital models by David Darby, who is in charge of sculpting and concept art at Nolan’s studio, using software called ZBrush.

An initial, non-furry, non-mechanical prototype of the Baby Ochi puppet was correctly scaled and could be maneuvered with rods connected to each limb and head. This enabled the team to assess its mobility for the upcoming production.

It was found that the distance of the rods connecting the puppeteer and the puppet caused minor, random fluctuations in how the fictional four-legged creature moved.

Saxon refers to this as the “failure space,” which lends realism and charm to the creature.

The filmmaker remarks that watching a video of a genuine young monkey is strikingly similar, with the same quirks and flaws. These creatures are still learning to manage their bodies. Instantly, we exclaimed something along the lines of: “Wow, these imperfections make it seem so authentic!

Robert Tygner, a seasoned puppeteer who kick-started his career with the 1986 cult hit “Labyrinth” featuring David Bowie, shares that during their initial run-throughs, Saxon invited Evan Prosofsky, the director of photography, and Jason Kisvarday, the production designer, to help decide on the construction of sets and camera placement. This was done to ensure there would be enough room for the puppeteers, given the necessary space requirements.

Tygner remarks, “Indeed, it was quite an exceptional opportunity. For quite some time, I haven’t encountered a director who was genuinely interested in discovering the most effective method for bringing this puppet to life on screen.

It wasn’t until 2021, when I finally received the go-ahead for “Ochi,” that we started crafting more lifelike animatronic puppets. Beyond determining the perfect body proportions, an essential part of my early digital sketches centered around the fur – a key aspect in bringing our creation to life.

In simpler terms, Nolan suggests visualizing a monkey without fur by referring to anatomy books. However, for our 3D sculpture, we need to create the texture of the fur digitally using Photoshop, determine its length and style, then get the design approved before adding real hair to the actual model.

After that, it moved on to the modeling team who used 3D printing to create the primary form of the puppet using fiberglass molds. Subsequently, it proceeded to the skin section where they produced and painted silicone skins.

Nolan clarifies that each animatronic is crafted with unique components, manufactured using 3D printing technology. The Baby Ochi, in particular, posed a significant challenge due to its miniature size. Enclosed within its fruit-like dimensions (roughly the same as a grapefruit), intricate machinery containing approximately 25 servos was designed to generate delicate facial expressions.

Karl Gallivan, the animatronic designer for “Ochi”, expresses that it’s one of the most intricate designs he has ever encountered.

In the movie, Baby Ochi’s face was split into two sections, necessitating two puppeteers to manage it. One operator handled the eyes and eyebrows while another controlled the mouth, creating a remarkably realistic facial expression. Notably, the film’s impressive facial performance is entirely practical, devoid of any computer-generated enhancements, as Saxon points out.

Apart from needing to widen its eyes, blink, and follow the movement of your eyes up and down (similar to us or a real monkey), Isaiah’s creation was also designed to whistle, an aspect that Nolan found particularly exciting. He considered Saxon to be an exceptional director to collaborate with in this project. Each hair follicle was carefully inserted by artists using a fine needle.

According to Nolan, there are around six to seven distinct teams, with approximately four to five individuals in each team. So, you can calculate that roughly 35 to 40 people were involved in the project for Baby Ochi. That’s quite a lot, isn’t it?

The painstaking labor, however, pays off the first time the finished product comes alive.

Nolan notes that when you power up a device such as Baby Ochi for the first time, and the crew reacts with awe, that’s the enchantment,” he says. “That’s what the viewers will experience while watching it. It seems so real because, in fact, it is.

In simpler terms, it means convincing enough for interaction with actors, even one like Mr. DiCaprio, who initially viewed it as something without independence, much like a traditional puppet.

In philosophical terms, he expressed strong doubts that a puppet could perform alongside him, as Saxon explains. Later, he was left shaken, for the act had posed a challenge to his beliefs because the performance was so convincing. It seemed incredibly real, and he found himself fully immersed in the illusion of it.

A total of three complete Baby Ochis were constructed: the lead character, often called the “hero puppet” by the animatronics team, a sturdier stunt version, and a “backpack-ready Ochi.” The latter proved particularly useful on set, as it reduced setup time significantly. Typically, attaching a puppet to a backpack could take up to an hour, but the backpack-ready Ochi was already prepped.

In addition to the three complete Baby Ochi figures, an independent detachable headpiece was designed. This headpiece showcased a terrified expression, demanding a wider range of movement capabilities, and it could be swapped back onto the main puppet’s body when needed.

In the creation of Ochi’s animatronic heads for the mature character, Adrian Parish from Nolan’s team incorporated approximately 30 servos. These heads were then worn by performers dressed in suits. Zoe Midgley, a British actress with skills in martial arts, was chosen to portray Mother Ochi, while two local Romanian actors were selected to play the other adult versions of Ochi, as the filming took place in Romania.

According to Saxon, it’s a 60-pound headpiece designed for a natural fit and controlled remotely, allowing them to monitor Mother Ochi’s facial expressions accurately. Nolan’s team began by scanning and creating a mold of Midgley’s body, upon which they built a muscle suit.

As a dedicated cinephile, I’ve often found myself immersed in the magical world of filmmaking, and my journey took me to the set of “Gorillas in the Mist” back in 1988. Fast forward to today, I find myself standing on another set, this time for a new project, where I had the privilege of working alongside the talented Peter Elliott. This seasoned artist, who effortlessly transformed into an ape whenever the camera wasn’t rolling, was instrumental in bringing the character of adult Ochi to life.

Peter’s infectious enthusiasm and dedication to his craft were palpable off-camera. He would snort, sniff, act out scenes, and generally embody the essence of an ape, creating just the right atmosphere to help us performers get into character. As I watched him, I couldn’t help but feel inspired by his commitment and artistry. It was truly an enlightening experience working with such a passionate professional.

Contrastingly, the acting of Baby Ochi was built upon a sophisticated interaction stemming from rigorous rehearsals where the puppeteers honed the creature’s physical cues. This allowed them to adlib during filming and respond spontaneously to their co-actors on set.

As a dedicated movie buff, I’d describe it like this: “I’ve got a team of seven of us working this big puppet. One on each arm, one for the torso and head, another pair handling the hind legs, and a couple more controlling the facial expressions from afar.

“It was quite a circus, I can tell you that,” Tygner says, laughing.

Based on the backdrop within each scene, the five puppeteers controlling the character were dressed in either blue, green, or black outfits, allowing them to be easily erased during post-production using digital technology.

“All we’ve done is remove the puppeteers,” says Nolan. “It’s still a puppet that’s in camera.”

Tygner suggests that filmmakers are drawn to animatronic puppets not only by nostalgia, but also because they offer the ability to control and manipulate performances directly during filming.

As a movie enthusiast, I’d put it this way: “Working with puppets is like guiding a regular actor, and Isaiah made us feel no different; we truly became Ochi.

The unique sound produced by the Ochi is authentic and not artificially created. While browsing YouTube for people who can produce throat whistles, Saxon encountered a retired circus performer called Paul “The Birdman” Manalatos, who had developed his own distinctive coo. This coo eventually became the voice of the Ochi.

Of course, there are limitations with using puppets, such as the complex hand movements of Baby Ochi that were hard to achieve to Saxon’s liking due to the size and budget constraints of the project. Additionally, making it appear convincingly realistic for the creature’s feet to touch the ground was a struggle for the puppeteers. A hidden prop was used to enhance the illusion.

Nolan explains that while we acknowledge the constraints of animatronics and practical effects, our main goal is to continually surprise and bewilder the audience,” or simply “Nolan admits that we’re aware of the limitations in using animatronics and practical effects, but our aim is always to keep audiences on their toes.

Despite spending his entire life mastering tangible visual magic, Saxon feels that computer-generated imagery (CGI) has been unfairly criticized. In his opinion, both physical and digital realms can harmoniously coexist. Notably, in the film “Ochi,” the extensive wide shots demonstrating the creatures leaping or sprinting, notably in the opening scenes, were exclusively crafted using CG animation.

Saxon notes that the criticism against computer-generated graphics (CG) and visual effects (VFX) stemmed from an excessive dependence and a growing carelessness within the industry. This mindset often led to situations where filmmakers would simply film actors on a blue screen, assuming they could sort out the details later.

Saxon feels that the reliance on Computer Generated (CG) effects in the entertainment industry has been excessive. Even when collaborating with top-tier Visual Effects (VFX) companies, he points out that certain aspects, such as how light interacts with an object, can appear distinct when there’s a real-world counterpart on set. He suggests that we may not consciously recognize these differences.

According to Saxon, our brains have a remarkable ability to overlook the puppeteer operating above the puppet, instead perceiving the puppet as if it’s alive on its own. This is the essence of puppetry’s charm – it seems as though life is flowing directly through the wooden figure.

Is “The Legend of Ochi” authentic? The creators, Saxon, aim to captivate viewers, leaving them questioning. To their understanding, it indeed is.

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2025-04-15 21:32

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