Posts Tagged ‘Interviews’

The 4mations Digital Shorts films are finally nearing the end of their assembly line. It’s been a dark, sweaty, animated summer for many of our Directors.

You’ll remember ‘Slow Joe’ from the interview we featured a few months ago with its directors Steve Boot and Phil Gray. With their Digital Short all wrapped up, they’ve put their zombie pigeon back in their coop and have shared a little highlight of their film with us:

Intrigued? Here’s what Steve had to say about the production…

There’s nothing I like more than being in a dark room with a doll, but then that’s because I’m a stop-motion animator.  In fact one of the things that made me want to become a stop-motion animator was watching the old late night  “4Mations” series on Channel4 and seeing films such as “The big Story” , Paul Berry’s “The Sandman” and Jeff Newitt’s “Loves me Not” .   So I’m proud to have been chosen to be part of this commission.  It’s been a brilliant and worthwhile experience and here are some of my highs and lows.

Highs

Being grouped together with some of the most amazingly talented animators from the other regions.  It’s been great to look at their blogs, interviews  and websites and see their films evolve alongside ours.

The development.  It’s an exciting part, so many problems to solve, so many challenges.  This is were we got to throw a lot of ideas around and really stretch our imagination.

The filming.  I’m happy being in a dark room with a doll for company (have I said that already?), this is the fun part, making it all come to life.

Lows

Being grouped together with some of the most amazingly talented animators from the other regions.  Sometimes I just look at their blogs/websites to punish myself, why do they all have to be so talented!?  Why isn’t ours as good as theirs?

The development.  It’s a stressful part, the film could go off in so many different directions, so many questions to answer, why this? Why that? What if?…..  I think my head’s going to explode.

The filming.  It’s a lovely summer’s day and I’m in a dark room with a doll, again!

He’s square, he’s spongy, and he’s very, very happy. Did you know SpongeBob SquarePants turned 10 this summer? Makes you feel old, doesn’t it. You’ll have watched the show, bought the t-shirt, and, yes, sung the song. SpongeBob is a cultural phenomenon, a modern animation icon. Today, from the comfort of our nursing home rocking chair, we bring you a behind the scenes look, in a special under the sea interview with Storyboard Director Luke Brookshier. Enjoy, you whipper snappers.

How did you get started at Nickelodeon?
I was working on a pilot for a cartoon I had helped create. While the show wasn’t green lit for production it did help me to get a position of Storyboard Director on Spongebob. The style of the pilot was very squash and stretch and slapstick filled. So it was very good training for Spongebob.

What’s your workplace like?
Nickelodeon is a bit different than other cartoon studios. For one thing it’s a friendly place. We have art shows each month, ping-pong championships, and every Halloween each show creates it’s own haunted house. The look of the studio is unusual too. The entire studio is very colorful and even the cubicles are orange purple or green. Even the elevator is a purple cylinder and the stairs look like a giant Nickelodeon slime slide.

Front view of the Nickelodeon Animation Studio in Burbank, CA. Photo credit: Rick Wilson/NIckelodeon

Front view of the Nickelodeon Animation Studio in Burbank, CA. Photo credit: Rick Wilson/Nickelodeon

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We’ve already told you about the dark side of animation. But did you know it can turn you into a snowboarding vampire? No? Then you must get to know Bob Lee, one of our fine 4mations Digital Shorts directors, who’s been sinking his teeth into his short film ‘Tomorrow’…

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We’ve featured Jon Dunleavy’s work on 4mations before. He’s currently busy working on “Crash Bang Wallow”, a 4mations Digital Shorts production with an 80s twist. In this interview, he talks to us about aliens, action, and punctuation. Punctuation?!?!?

Crash Bang Wallow 1

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Another week, another 4mations director interview

This week we catch up with Anna Fitzimons, who is working on The Life, Death and Suffer Story, a sort of mock tragedy that introduces us to Verity Burns, a lonely girl suffering the madness of a broken heart.

The Life, Death, and Suffer Story

You’re working on a mock tragedy. Is this Antigone meets The Office?

Ha! No, not quite, but maybe a little, the difference being that Verity is wallowing in self pity (between fits of pique and glimpses of optimism) rather than struggling against some kind of greater force for a noble cause.
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Our 4mations directors have been busy all summer slaving away on their animated Digital Shorts for 4mations. We’ve asked them a simple question: what do you eat to keep you going through production?

Their answers? Possibly TMI. Read on.

tbm_food_small

Greg McLeod, director of The Moonbird:

1. Mozzarella
2. Parma Ham
3. Rocket
4. Blueberries
5. Raspberries
6. Greek yogurt
7. Slow cooked lamb curry
8. Fast cooked lamb curry
9. Raw lamb curry
10.Fab ice lollies

Stephen Boot, director of Slow Joe

We shot our film in a studio space which we got cheap because they where also building offices in there.  It was June and it was hot, so I was drinking a lot of water.  There was also a lot of plaster dust in the air, so water and plaster dust, yeah that was my diet (I haven’t had a poo since, but at least I have a rock hard stomach to show for it).

Iain Gardner, director of The Tannery

It’s pretty important, I think, to get a balanced breakfast at the start of the day in order to get a good day’s work done, but when that day turns into night then it’s handy to have breakfast in a bar.
Nibbley snacks (nuts/Maltesers/jelly babies) aren’t conducive to animation as they distract your hands from the work. Keep focused!

Bob Lee, director of Tomorrow

I’m very specifically fueled by copious amounts of Yorkshire tea and Relentless and ham and pease pudding sandwiches - but mostly by the constant fear of failure. Also, very loud high-octane music. Although I know some animators find they need silence whilst animating for concentration purposes, I feel a little dancing between frames adds a certain je ne sais quoi to each shot.

The summer is hotting up for our 4mations Digital Shorts directors. While the rest of us are busy catching up on this summer’s bestsellers or topping up our tans, Emma Lazenby has been working on her 4mations Digital Shorts commission, Mother of Many, which is being produced at Arthur Cox.

How did you get started in animation?

I always drew lots and after college found a degree with animation - once I saw things moving I couldn’t go back to still things (but now I can’t draw as well).
After Uni I emailed lots of companies and got my ideal job working for a tiny company - West Highland Animation - in the Trossachs.  I worked on Gaelic series and interactive games and lived in a small hut next to a loch in the middle of nowhere.  I used to row to the pub.  It was a very lovely 3 years.

Your film is about midwifery. Your mother has recently retired from 30 years in this job - how has that affected your story?

It was my mum’s retirement that got me thinking about what an amazing thing it is she has done as a lifetimes work - to be the first person thousands of people touch and see, and to help women (and their men) through such a ridiculously hard time continuously day after day - just seems crazy.  Such a worthwhile job.  It makes me think about what I do and consider a change in career.

Mother of Many

You’ve watched a lot of birthing videos on YouTube. Is this difficult research?

It is sometimes difficult research - though I am not squeamish and am now used to watching it. But it does make me very emotional sometimes - it is a very overwhelming thing to see, I try not to cry at my desk (in the boys’ room at ArthurCox).  It is sometimes a little too intense.

Looking so indepthly at childbirth hasn’t put me off thinking of having a baby one day - just knowing realistically what happens has been really interesting and made me less scared of it.

On your blog, you compare making a film to child birth. Is it quite a difficult process for you?

I haven’t made my own film like this since my degree - and though it is quite crazily exciting, it is really hard work.  I get quite frustrated with it sometimes because I am usually very confident in what I do (mostly design and animation) - I am being challenged by things I haven’t done for a long time and greatly enjoying it really.

Your style is a mixture of clean lines and rich textures. Where do you draw inspiration from?

I read a lot of children’s books and love screen printing - and am a big fan of patterned material.  I have been finding a lot of inspiration from the illustration and cartooning blog drawn.ca and following links from there.  I started off looking a lot at the painter Mark Francis, and Oliver Jeffers and an amazing french children’s book I bought in France.  I recently found Zara Pickens work which is beautiful.  I suppose I just keep my eyes open. I have a big inspirational style Photoshop file for this film that I add to and look at when I need my brain to set off.

You can keep track of Emma’s progress on Mother of Many’s production blog, where you can take a look at animation tests and other nifty things.

We’re kicking off this week with an interview with 4mations director Iain Gardner. Have you noticed a marked decline in penguin population? Read on.

iain_gardner_4mations1

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In this week’s 4mations interview, Joseph Pierce tells us about ‘A Family Portrait’ the short film he is currently producing with fiftynine productions. He gives us secrets, jealousy, and suspicion! Read on.

A Family Portrait

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Somewhere in a dusty potting shed, two young 4mations directors, Simon Cartwright and Jessica Cope, are busy building sets, props, and, errrm, heads, for their upcoming stop motion film The Astronomer’s Sun…
Heads on sticks

Congratulations! You both graduated last year and you’ve already won a commission. Has the experience been different so far?

This has been totally different to what we’re used to. For a start we’ve never had to be so organised before! There’s a million and one little things to take care of even with a short like this and everything needs to be budgeted and approved. We can’t believe how helpful everyone is being though, our producers especially are incredibly patient and understanding, making sure we don’t fall behind or forget anything.

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