“Imagine shooting a car, taking a wide-angle lens and shoving it in there. All of a sudden, the hood, I switched the film back from 35mm to 16mm to see if it would help us to have a smaller piece of film with smaller characters. It brought everything into the right perspective immediately.” The decision was made to go between 16mm and 35mm. “We decided 16mm will be for when Dory is safe at the reef at home. You feel like you’re among the characters. And when we go out into the big ocean, especially when we get to the Marine Life Institute, we’re shooting in 35mm and it feels human scale, which makes the fish characters small. You’re in this mentally different place as an audience member of, ‘Oh, wow. They’re in danger. This is not what I remember seeing before.’ It’s super geeky, but you want audiences to feel that stuff.”
