Before heading to the press event at Pixar Studios earlier this month I did some research into Pixar’s Coco especially what the film is based off of “Día de Muertos”. Being a parent I was a little worried how they would do an animated film without scaring little children. Having seen about 30-40 mins of the film Pixar was able to pull it off flawlessly… I asked this question and the designers told me typically when the characters show no fear when interacting with the dead then people are more willing to accept it as well and not be afraid, of course lots of humor and a very cute dog named Dante helps too.
Here is how they did it:
“Coco” is set in Mexico in two distinct, but parallel worlds: the Land of the Living and the Land of the Dead. For most of the year, these two worlds exist separately, but harmoniously side by side. And every year, they come together in a magical way. “Día de Muertos is like a big family reunion that spans the divide between the living and the dead,” says director Lee Unkrich. “But it isn’t about grieving; it’s a celebration. It’s about remembering those family members and loved ones who’ve passed, and keeping them close. When we were invited to take part in Día de Muertos in Mexico, we saw paths made of marigold petals that started out in the streets and ended at ofrendas—altars with family pictures, favorite foods and special objects. We learned that it was all done to help guide the spirits of a family’s loved ones home.”
The marigold petals made such an impression on the filmmakers that when they pondered how to connect the Land of the Living and the Land of the Dead in their own story, they decided to build a bridge out of the brilliant orange petals. “It’s elegant and magical,” says production designer Harley Jessup. “And it recalls the aqueducts of Mexico, Spain and Italy.”
According to Jessup, artists designed the worlds to both contrast and complement each other. Filmmakers populated each with a host of colorful characters who all share a common goal: to be remembered.
THE LAND OF THE LIVING
“Santa Cecilia is inspired by real villages in Mexico,” says Jessup. “We stayed grounded in reality in the Land of the Living. It’s dusty and the color palette is somewhat muted. There’s a town square where people gather, the Rivera compound where Miguel’s great-great grandmother built the family’s shoe business, and the local cemetery is prominently featured.”
Named after the patroness of music, Santa Cecilia is home to Miguel and the entire Rivera family. While it may be small, it has a major claim to fame, says co-director Adrian Molina. “The most famous musician in all of Mexico was a son of this town,” says Molina, “he started right there in their little plaza. Many years ago, Ernesto de la Cruz rose to stardom and became beloved by the world. As a result, musicians from all over Mexico also come to Santa Cecilia to pay homage to the icon, who remains revered long after his tragic death.”
Key characters from the Land of the Living include multiple generations of the Rivera family who all live together.
Miguel is a 12-year-old who struggles against his family’s generations-old ban on music. “He harbors a strong passion for music,” says Unkrich. “Miguel secretly nurtures this love of music—he’s created a hideout in the attic of one of the buildings in a far-flung corner of the family compound where he keeps his collection of records, posters and figurines celebrating his idol, Ernesto de la Cruz.”
Adds story supervisor Jason Katz, “Miguel is a good kid who desperately wants to respect his family—he recognizes that they are a big part of him. But this other side of him, the one who loves music, can’t help but pursue this dream.”
Miguel soon discovers that Ernesto de la Cruz is actually part of his family. And when a magical mishap lands Miguel in the Land of the Dead, he learns that the iconic star is the only one who can help him.
Anthony Gonzalez lends his voice to Miguel. “Anthony’s just a dream,” says producer Darla K. Anderson. ”He’s been playing mariachi music since he was 4 years old, so really understands Miguel’s love of music and his desire to perform.”
Adds Unkrich, “At our very first recording session, Anthony asked if he could sing for us. He just busted out and sang a cappella. It was beautiful; he has an amazing voice.”
Miguel’s cherished great-grandmother Mamá Coco is very old and fragile, but that doesn’t stop Miguel from sharing his daily adventures with her. According to Unkrich, filmmakers were touched by so many of the Mexican homes they visited in which multiple generations lived under the same roof. “Babies were at home alongside their great-grandmothers,” says Unkrich. “We wanted to embrace that. Even as her own memory is slipping away, Mamá Coco will always be surrounded by people who love her.”
Ana Ofelia Murguía provides the voice of Mamá Coco. With a career spanning films over more than 50 years, she is an actress esteemed as a national treasure of Mexico. “She embodies matriarchal feistiness,” says Anderson. “She’s like the Katharine Hepburn of Mexico.”
Abuelita is Miguel’s grandmother and the ultimate enforcer of the Rivera family rules. She loves her family very much and will do anything to protect them. But when she gets angry, she wields a mean slipper. “Abuelita is the torchbearer when it comes to the family’s rule where music is concerned,” says Unkrich. “She can be warm and loving one moment and sharp-tongued and strict the next. That’s what’s so entertaining about her—you never know what you’re going to get.”
Co-director Adrian Molina sees a bit of his mother in the character. “She’s doting and loving, but she’ll keep you in line.”
Filmmakers called on Renée Victor to provide the authoritative voice of Abuelita.
The Rivera family also includes Papá, Miguel’s supportive father, who hopes that someday Miguel will join him in the family shoemaking business. Jaime Camil was tapped to voice Papá. Miguel’s loving Mamá, who gently encourages her son to embrace their family’s traditions, is voiced by Sofía Espinosa. Tío Berto, Miguel’s hard working uncle, is voiced by Luis Valdez.
Dante is a Xolo dog—short for Xoloitzcuintli—the national dog of Mexico. Nearly hairless and missing some teeth, Dante has trouble keeping his tongue in his mouth due to his missing teeth—but he’s a loyal companion to Miguel. “We actually invited some Xolo dogs to visit the studio,” says character art director Daniel Arriaga. “We had a lot of fun designing Dante. We gave him patchy skin, he has a broken ear, he’s walleyed and his tongue is always hanging out.”
THE LAND OF THE DEAD
While most of the action in the Land of the Living takes place during the day, in “Coco,” Miguel’s journey into the Land of the Dead takes place at night. “When Miguel arrives in this magical new world, we wanted it to be an explosion of color and texture,” says Jessup. “The Land of the Dead is vertical, which is in contrast to the flat layout of Santa Cecilia. The towers represent layers of history: Mesoamerican pyramids are at the base with Spanish colonial architecture built on top. And it just keeps going—period by period, layer by layer, as people continue to arrive.”
Inhabiting the Land of the Dead is a rich and vibrant community. But these characters had to be built without many of the usual traits because they are all skeletons. “We had to figure out how to give them personality without skin, muscles, noses or even lips,” says Arriaga. “We played with shapes and did a lot of paintings. We studied skulls from every angle to figure out where we could add appeal and charm.”
Hector, a charming trickster in the Land of the Dead, enlists Miguel’s help to visit the Land of the Living. “He desperately wants to cross the bridge of marigolds on Día de los Muertos to visit his family,” says co-director Adrian Molina. “But there’s a rule that if no one in the Land of the Living is actively remembering you—if no one has put your photo up on an ofrenda—then there’s no one in the Land of the Living to receive you and you cannot cross over.”
Hector promises to help Miguel find Ernesto de la Cruz, and in return, Miguel agrees to take Hector’s photo back to his family’s ofrenda. But their journey through the Land of the Dead isn’t exactly easy. Says Molina, “Miguel is a living boy, so he draws a lot of attention in the Land of the Dead. And Ernesto de la Cruz is still a big star, which makes things very complicated.”
Gael García Bernal lends his voice to Hector. “We’ve long been fans of Gael,” says Unkrich. “He’s been in some incredible films. And when we saw his him on ‘Mozart in the Jungle,’ we knew we’d found our Hector. He’s funny and so incredibly charming. Everything about him is intoxicating.”
Miguel’s idol Ernesto de la Cruz, is the most famous musician in the history of Mexico. Revered by fans worldwide until his untimely death, the charming and charismatic musician is even more beloved in the Land of the Dead. “Ernesto de la Cruz’s catchphrase was ‘Seize your moment,’” says Unkrich. “And Miguel takes that to heart.”
The star of stage and screen—revered for his silky-smooth voice, good looks, unmatched charisma and unforgettable lyrics—plays an iconic guitar with a mother of pearl inlay and a skull motif. He is best known for his hit song “Remember Me.”
Benjamin Bratt provides the voice of Ernesto de la Cruz. “We needed someone who could be completely lovable and winsome with a sparkling personality,” says Molina. “Benjamin has this presence—especially when he gets into character and puffs out his chest. He has this swagger and this smile and a sparkle in his eye. Even though we’re only using his voice, his performance inspired the animators and the character.”
Mamá Imelda, Miguel’s great-great-grandmother, is the matriarch of the Rivera family and the founder of their successful shoemaking business. Miguel meets Mamá Imelda in the Land of the Dead and discovers she really does not share his passion for music. “Imelda is the source of the family’s ban on music,” says Unkrich. “Long ago, she was married to a musician, but she found that he had very different priorities in life. She wanted to raise a family, but he couldn’t let go of his love of music.”
Alanna Ubach provides the voice of Mamá Imelda. “She sings the iconic Mexican folk song ‘La Llorona’ in the film—a song Alanna’s own mother used to sing to her,” says Anderson. “I think the invisible underpinnings of generational magic and connectivity make this film really special.”
Pepita is Mamá Imelda’s spirit guide. Brightly colored and fiercely loyal, Pepita is a formidable presence in the Land of the Dead. An imposing wildcat with birdlike wings, Pepita is an alebrije brought-to-life. “Alebrijes are traditional brightly colored and handcrafted Mexican folk art,” says Katz. “They’re dreamlike animals—lizards with rabbit ears, elephants with butterfly wings—beautifully rendered with striking colors, and we knew from the moment we saw them that they needed to have a place in our story.”
Miguel’s ancestors also include his late aunt Tía Rosita, voiced by Selene Luna; his great-grandfather Papá Julio, voiced by Alfonso Arau; and his identical twin uncles Tío Oscar and Tío Felipe, who are voiced by Herbert Siguenza.
Chicharrón is a curmudgeonly friend of Hector’s who is sadly being forgotten—an unfortunate condition in the Land of the Dead. Says Anderson, “Chicharrón is a lonely guy who surrounds himself with all the things he loves, including a guitar.”
Chicharrón is voiced by Edward James Olmos.
Also featured in the Land of the Dead are an Arrival Agent in Grand Central Station, voiced by playwright Octavio Solis; the Head Clerk in the Department of Family Reunions, voiced by Gabriel Iglesias; a Corrections Officer, voiced by Cheech Marin; and the Emcee of a colorful talent show, voiced by Blanca Araceli.
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