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Global sensation Tintin finally arrives in America, thanks to a spectacular movie directed by Steven Spielberg and produced by Peter Jackson. The Adventures of Tintin: The Secret of the Unicorn has already made a huge splash in key territories around the world, grossing over $187,600,000 during its first weeks in theaters.
It’s interesting to learn that Spielberg first learned about Tintin after some French reviewers compared his iconic adventure movie Raiders of the Lost Ark to the work of Belgian artist Herge, (ne Georges Remi, 1907-1983).  He actually reached out to the artist back in 1983 to collaborate on a film adaptation. Years later, when Spielberg and Lord of the Rings helmer Peter Jackson joined forces to launch the possible Tintin trilogy of films, they still thought it would be a live-action feature, which incorporated digital animation to depict the always entertaining Snowy.
Using Weta’s state-of-the-art motion-capture technology, which audiences have become accustomed seeing on-screen—from the days of Gollum in the Lord of the Rings trilogy and the Na’vi from James Cameron’s Avatar—Spielberg was able to experience a freedom of artistic expression rarely found in live-action filmmaking. The film’s action-packed screenplay is penned by Steve Moffat, Edgar Wright and Joe Cornish and is inspired mainly by two books in the Tintin canon, The Secret of the Unicorn and Red Rakham’s Treasures. While there have been some discussions about whether it’s right to categorize motion-capture movies as animation, Spielberg firmly believes that The Adventures of Tintin is a bonafide animated project—regardless of the technologies used. The animation team at Weta worked on the process of refining, sculpting and detailing each of the film’s 1,240 shots for a year and a half after the actors’ work was done. Letteri, whose numerous credits includes Jurassic Park, King Kong, Avatar and the Lord of the Rings trilogy and is currently working on Jackson’s The Hobbit, says the toughest nut to crack was Tintin himself.
He points out that having talented actors like Serkis, Bell and Daniel Craig (who voices the film’s villain Sakharine) in the mix allows the animation to come to life in a way that would have been almost impossible by other methods. This reliance on the way the thespians portrayed the characters is especially obvious in one of Letteri’s favorite sequences.
Weta used state-of-the-art animation tools to animate human hair (check out Tintin’s unbelievably realistic ginger hair as it blows in the wind), Snowy’s almost-touchable white fur, muscle dynamics, as well as subsurface scattering for human skins. The film’s animation supervisor Jamie Beard, who read all the Tintin books as a boy growing up in England, says he was thrilled to work with industry legends Spielberg and Jackson.
Beard explains that he and his team had to look at the actors’ performances and ask, “How does that performance fit into the character design?” “We basically start with a rough skeleton over a low-res geometry form of what that character is and from there we go in and refine the motion,” he says.
One of the greatest rewards of working on a film like this for so many years is getting to enjoy the final product with an appreciative audience. Beard also agrees that there shouldn’t be any real distinction between animated films that use motion capture and those that don’t.
Spielberg also brings up the point that every frame of Tintin has been created with a lot of love and endless hours of craftsmanship and hard work.

Those three names alone are enough to spark the imagination of anyone who has been fortunate enough to read Belgian artist Herge’s internationally renowned comic books. Now, industry observers are curious to see how the film, which cost $140 million to make, will perform in the U.S. As it turned out, Herge was thrilled with the idea of the acclaimed American director taking the helm of a Tintin movie.
Early on it was decided that filmgoers needed to see how Tintin (voiced by Jamie Bell) meets his frequent collaborator Captain Haddock (voiced by Andy Serkis) for the first time.
Then came the rendering process, during which the filmmakers fine tuned visual themes, cinematic moods and added complex lighting effects.
Viewers will also be dazzled by the fantastic CG representations of water in the scene in which Haddock and Tintin are stranded in a stormy sea—courtesy of Weta’s proprietary Synapse system. Techniques have come and gone over the years, barriers have been broken, box-office records and preconceptions shattered alike, but only now has Spielberg decided the medium is ready for him – and he's picked his moment well. Ever since it was announced that Steven Spielberg and Peter Jackson were going to join forces to mount an expensive adaptation of the popular series to cinematic life, fans have been counting the days until the film opens in theaters in their town. It’s also nice to know that The Secret of the Unicorn and Red Rakham’s Treasure are two of his favorite adventures.
Another decision was to set the period and texture of the film in a noir universe, untouched by period details. Tintin was a huge part of my childhood, and it was really exciting for me to explain this amazing world to the Americans I was working with who weren’t as familiar with the characters. When Americans finally get to learn about Herge’s intrepid boy reporter and his charming Wire Fox Terrier, Snowy (known as Milou in French-speaking countries), it will be the culmination of a journey that began over six years ago. Sometimes when you’re shooting a live-action film, you want to go back and do it all over again. It's a hat, whip and map with a red line on it away from being a lost Young Indiana Jones Chronicle, and makes Kingdom Of The Crystal Skull seem sluggish and artificial in comparison. Tintin is the best sidekick Indy never had – hopefully, the inevitable success of this series will completely negate the need for Indiana Jones 5. Thank the Lord! You suspect Spielberg is a huge fan of both the endlessly rich source material and the powerful yet playful technology at his fingertips. The opening scene gives your eyes a chance to readjust to the 3D and the stylised, motion-captured characters – caricatures with cartoonish faces living in a photo-real world.
When you add eyelids, eyebrows and cheekbones, he suddenly becomes more realistic and you have to stop when he doesn’t look like Tintin anymore.

It takes a while to process fully – Tintin, for example, is a spookily lifelike La Roux lookalike, while other characters have comically large noses and beady eyes – but that deathly hollow you saw in the eyes of The Polar Express and A Christmas Carol is gone. Only comic relief simpletons Thompson and Thomson cause queasiness: with oversized heads on normal bodies, they bungle around like two law-enfeebling Frank Sidebottoms.
The locations are sumptuously painted, spanning from dingy docks to sparkling desert oases – you only wish the pace would slow down so you could soak in the atmosphere once in a while.
The Adventures Of Tintin is a chase movie first and foremost, careening through a succession of better-than-the-last action sequences across land, water and air. The centrepiece – a glittering pursuit through a Moroccan medina – is a single three-minute take that'll reduce even the most cynical of viewers to a slack-jawed gawper. From the jaunty opening credits, reminiscent of Catch Me If You Can's Saul Bass-inspired intro, Spielberg shows he's just as comfortable directing animation as he is live-action. The blocking, framing, panning and camera work is all top-notch as expected, but this new medium offers the director the chance to add dozens of neat little touches – nods, winks, clever transitions. Flashback scenes, which tend to be either a crutch or a stoop, are weaved seamlessly into the story.
It's arguably Spielberg's most out-and-out fun movie since Jurassic Park. "To the box-office!" Not all of the credit can be dumped on The Berg's doorstep. Steven Moffat, Edgar Wright and Joe Cornish did a great job on Tintin's screenplay, crafting a light-hearted, pacey romp that's big on mystery and doesn't skimp on humour. Jamie Bell's quiffy hero is enthusiastic and inquisitive without being irritating, but Andy Serkis' Captain Haddock is the comedic yang to Tintin's sober yin – a sort of proto-Jack Sparrow, fuelled by booze and fisticuffs, he's a Scot through and through (Serkis even wraps his talented tonsils around the accent). Daniel Craig's sneering villain Sakharine is the one let-down – a cookie-cutter bad guy whose archetype hasn't been altered in the 70 years since the book was written. Indeed, if you must grumble, it feels a touch long (even at 107 minutes) and the 3D is practically invisible.
There's a total lack of female characters – apart from corpulent opera singer Bianca Castafiore, who looks like a David Lynch creation – and the slapstick of Thompson and Thomson is aimed more at the less discerning younger viewer.

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