By Miguel Tanco.
Fifity Percent Grey (2001)
A soldier awakens on a gray, deserted plane. He rises, stretches - is that a drop of blood we see on the ground? He removes his helmet. A large television set sweeps into view. He walks to it, pushes a video tape into the slot, and the tape begins to play. "Welcome to Heaven, you are dead." The soldier hastens away; another television set rolls in front of him. The soldier draws his gun. Can he put an end to death? Or do other states await him?
Ruairi Robinson 's idea was to make a story where the character starts out a hero, turns into a coward and ends up a fool. It's basically a big cruel trick played on him by whoever controls the afterlife... The subject is potentially controversial , but it's nice to watch a movie that has a really unhappy ending.
Ruairi Robinson 's idea was to make a story where the character starts out a hero, turns into a coward and ends up a fool. It's basically a big cruel trick played on him by whoever controls the afterlife... The subject is potentially controversial , but it's nice to watch a movie that has a really unhappy ending.
Every Word In The The Bible Before Christ, Every Word In The Bible After Death (2007 - 2008)
By Ryan Barone.
Destino (2003)
Destino is a poetic take on love and time in which a dancer moves through bizarre settings and undergoes a series of transformations. It's told through shifting dream-like images, set to the music of Mexican ballad Destino, by Armando Dominguez.
This short is the result of a 1946 collaboration between Salvador Dali and Walt Disney. The idea began when the two artists met at a party in Hollywood and decided to make a short film together, with Dali spending eight months working with director John Hench at the Disney studio, painting, drawing and discussing how to add motion to his images. But in 1947 the studio ran into financial trouble and the unfinished project was shelved in the Disney vaults for the next 54 years.
In 1999, executive producer Roy Disney, director Dominique Monfery, producer Baker Bloodworth, and 95 year-old John Hench, finally finished the film. Monfrey began by reviewing a rough edit of the original artwork adapted from the song. He had good feeling about the song, which was also redone, and was heartened by the strong visual ideas conceived by Dali and John Hench. The first decision was to make the film the way it originally would have been done in 1946, choosing to rely mainly on traditional animated techniques.
One important fact is that there are 2D character animation but there aren't lines on the character: the volume of the character is revealed more by light and shadow than by color. In order to better match Dali, they decided to remove that dark line that usually outlines the character sheet.
The essential technique embraced was the cross-dissolve, part of the montage strategy that Dali intended to utilize in the animation, which Monfrey paired with classical movement and timing to bring clarity to the poetry.
This short is the result of a 1946 collaboration between Salvador Dali and Walt Disney. The idea began when the two artists met at a party in Hollywood and decided to make a short film together, with Dali spending eight months working with director John Hench at the Disney studio, painting, drawing and discussing how to add motion to his images. But in 1947 the studio ran into financial trouble and the unfinished project was shelved in the Disney vaults for the next 54 years.
In 1999, executive producer Roy Disney, director Dominique Monfery, producer Baker Bloodworth, and 95 year-old John Hench, finally finished the film. Monfrey began by reviewing a rough edit of the original artwork adapted from the song. He had good feeling about the song, which was also redone, and was heartened by the strong visual ideas conceived by Dali and John Hench. The first decision was to make the film the way it originally would have been done in 1946, choosing to rely mainly on traditional animated techniques.
One important fact is that there are 2D character animation but there aren't lines on the character: the volume of the character is revealed more by light and shadow than by color. In order to better match Dali, they decided to remove that dark line that usually outlines the character sheet.
The essential technique embraced was the cross-dissolve, part of the montage strategy that Dali intended to utilize in the animation, which Monfrey paired with classical movement and timing to bring clarity to the poetry.
Nibbles (2003)
Based on the true story of a father who takes his sons on a fishing trip in the untamed forests of Montreal, this hilarious animated short by Academy Award-nominated director Chris Hinton is a paean to the joys of family travel and the multiple wonders of fast food.
Displaying Hinton's trademark wacky humor and unique graphic style, this film captures the primal and carnal serenity of fishing, mixing the soothing harmonies of nature with the powerful desire for food consumption along the way. For parents, the true essence of family travel is driven home with riveting clarity.
Displaying Hinton's trademark wacky humor and unique graphic style, this film captures the primal and carnal serenity of fishing, mixing the soothing harmonies of nature with the powerful desire for food consumption along the way. For parents, the true essence of family travel is driven home with riveting clarity.
Badgered (2005)
The tale of a grumpy badger who just wants the world to let him sleep.
Two crows disturb while he's hibernation. The badger climbs out of its hole once to try to silence the crows. When that doesn't work, fate intervenes and the hill on which are the crow's tree and the badger's lair becomes an underground missile silo. The badger investigates, and events move beyond its control. Is sleep in the offing?
There is another level to this story of a badger who just wants to sleep, but it is told with a light, humorous touch, not an annoying alarm-clock style bleating. It approaches the topic of nuclear power from a new, refreshing, badger's eye point of view.
It’s funny. It’s political.
Sharon Colman approachs animation from a traditional illustrative angle and is amused by the peculiar and absurdity of human nature, and developed an interest in character and their physiological makeup.
There is another level to this story of a badger who just wants to sleep, but it is told with a light, humorous touch, not an annoying alarm-clock style bleating. It approaches the topic of nuclear power from a new, refreshing, badger's eye point of view.
It’s funny. It’s political.
Sharon Colman approachs animation from a traditional illustrative angle and is amused by the peculiar and absurdity of human nature, and developed an interest in character and their physiological makeup.
Britannia (1993)
Britannia shifted her concern from gender politics to imperialism in an animated history of the political cartoon.
With this short, Joanna Quinn makes an excellent satirical swipe at the British character that, using a bulldog as the symbol of that rise and subsequent recession, shows how, in the pursuit of wealth and power, it has robbed other nations of their pride and national wealth.
The dog discovers tea in India; then, the dog shakes gold out of Africa. Gradually, innocence gives way to more and more ferocious play with the ball. We see terrorized women and children as the dog becomes an enslaving potentate. Harmless English archetypes benefit from colonial riches. Then the world begins to grow, and the dog changes too, from bulldog to effete lap dog.
With this short, Joanna Quinn makes an excellent satirical swipe at the British character that, using a bulldog as the symbol of that rise and subsequent recession, shows how, in the pursuit of wealth and power, it has robbed other nations of their pride and national wealth.
The dog discovers tea in India; then, the dog shakes gold out of Africa. Gradually, innocence gives way to more and more ferocious play with the ball. We see terrorized women and children as the dog becomes an enslaving potentate. Harmless English archetypes benefit from colonial riches. Then the world begins to grow, and the dog changes too, from bulldog to effete lap dog.
Ryan (Oscar 2004)
Ryan is a story about Ryan Larkin, an innovative, talented and gifted Canadian artist, who, thirty years ago, at the National Film Board of Canada, produced some of the most influential animated films of his time. Some year before dying, Ryan lived on welfare and panhandles for spare change in downtown Montreal
When people think of documentary filmmaking, generally, they assume that it’s an objective medium. But Chris Landreth integrates photography and live-action footage with animation (it goes through 3D animation, to pencil drawing, to painting, to sketches) and uses supplemental or secondary animations to represent the psyche of the characters as you traverse through the story.
In revealing Larkin’s inner landscape, Landreth has delivered us into a deeper, richer reality. We see the real Ryan Larkin that our eyes cannot see.
He, using Maya software, recreates Larkin as a fragile, incomplete person. We can see only a portion of a face. His body is breaking apart, his memories are haunting him and he's much more interested in the late artist instead of his own life.
Using a technique called psychological realism, the movie shows the emotions of the characters in a way never seen before. We can hear the voice of Ryan Larkin and people who have known him, but these voices speak through strange, twisted, broken and disembodied 3D generated characters... people whose appearances are bizarre, humorous or disturbing.
In one poignant scene, we see a young, complete Ryan, with hippie threads and long hair, come to life in his award-winning film Street Musique. He is filled with joy and soon begins dancing with his creations. Occasionally, we hear from other observers. Landreth also shows us his motivation: he sees elements of his mother in Ryan’s life.
Chris Landreth introduces himself to us in a funky restroom and then introduces the film's subject, Ryan Larkin, a brilliant animator in the 1960s and early 1970s. Chris shows us clips of Walking and Street Musique, Ryan's ground-breaking shorts. We now see Ryan as he is: emaciated, alcoholic, much of his mind gone; we meet Felicity Fanjoy, his love during his creative period, and Derek Lamb, his producer. Ryan talks to Chris in the dining hall of what is probably a homeless shelter or soup kitchen. Chris tries an intervention. We follow Ryan out into the street where he panhandles. The animation, which uses live footage, reveals the ravaged burned-out graceful man.
When Ryan’s 2D drawings from Street Musique are dancing in step with Ryan's 3D character, we can also find an homage to another Canadian filmmaker, basically the mentor to Ryan — Norman McLaren — where Ryan’s character begins his dance and you see these Shiva-like 10 arms strobing:an homage to a piece by Norman McLaren called Pas de Deux, which came out around the same time that Ryan was really at his peak.
You can buy Ryan (Special Edition)
.
When people think of documentary filmmaking, generally, they assume that it’s an objective medium. But Chris Landreth integrates photography and live-action footage with animation (it goes through 3D animation, to pencil drawing, to painting, to sketches) and uses supplemental or secondary animations to represent the psyche of the characters as you traverse through the story.
In revealing Larkin’s inner landscape, Landreth has delivered us into a deeper, richer reality. We see the real Ryan Larkin that our eyes cannot see.
He, using Maya software, recreates Larkin as a fragile, incomplete person. We can see only a portion of a face. His body is breaking apart, his memories are haunting him and he's much more interested in the late artist instead of his own life.
Using a technique called psychological realism, the movie shows the emotions of the characters in a way never seen before. We can hear the voice of Ryan Larkin and people who have known him, but these voices speak through strange, twisted, broken and disembodied 3D generated characters... people whose appearances are bizarre, humorous or disturbing.
In one poignant scene, we see a young, complete Ryan, with hippie threads and long hair, come to life in his award-winning film Street Musique. He is filled with joy and soon begins dancing with his creations. Occasionally, we hear from other observers. Landreth also shows us his motivation: he sees elements of his mother in Ryan’s life.
Chris Landreth introduces himself to us in a funky restroom and then introduces the film's subject, Ryan Larkin, a brilliant animator in the 1960s and early 1970s. Chris shows us clips of Walking and Street Musique, Ryan's ground-breaking shorts. We now see Ryan as he is: emaciated, alcoholic, much of his mind gone; we meet Felicity Fanjoy, his love during his creative period, and Derek Lamb, his producer. Ryan talks to Chris in the dining hall of what is probably a homeless shelter or soup kitchen. Chris tries an intervention. We follow Ryan out into the street where he panhandles. The animation, which uses live footage, reveals the ravaged burned-out graceful man.
When Ryan’s 2D drawings from Street Musique are dancing in step with Ryan's 3D character, we can also find an homage to another Canadian filmmaker, basically the mentor to Ryan — Norman McLaren — where Ryan’s character begins his dance and you see these Shiva-like 10 arms strobing:an homage to a piece by Norman McLaren called Pas de Deux, which came out around the same time that Ryan was really at his peak.
You can buy Ryan (Special Edition)
.
Stubble Trouble (2000)
Stubble Trouble was directed by Joseph E. Merideth, a former animator for Calabash and a teacher of animation for Columbia College Chicago.
Stylistically, it comes across as a crude melange of the "B.C." comic strip and "The Flinstones".
A caveman, finding himself rejected by the fairer sex because of his heavy beard, resorts to increasingly desperate measures to become clean shaven, but the beard always sprouts right back. Finally, he meets the perfect woman, who can accept him as he is.
Stylistically, it comes across as a crude melange of the "B.C." comic strip and "The Flinstones".
A caveman, finding himself rejected by the fairer sex because of his heavy beard, resorts to increasingly desperate measures to become clean shaven, but the beard always sprouts right back. Finally, he meets the perfect woman, who can accept him as he is.
The Birthday Boy (2004)
Both the story, and the animation style are refreshingly original and beautifully told.
Korean War, 1951 Little Manuk is playing on the streets of his village and dreaming of life at the front where his father is a soldier. He returns home to find a parcel on the doorstep and, thinking it is a birthday present, he opens it. But its contents will change his life. He wanders through streets of his Korean village and plays on his own. With an air of poignancy, we watch as he plays among the ruins of his town, watching an invading train fly past, forging new toys and acting out his dreams of becoming a soldier; just like his father. He is young, na ve and innocent; completely oblivious to the horrible nature of war. This brilliantly simple concept of portraying the horror of war through the na ve eyes of a child heightens the profound values Park is pushing through his film.
The little boy has so much character and is like no other character you've seen on the screen before. Manuk's 'cute' look was a conscious reflection of his innocence in a war-torn environment. We see the world not only through Manuk's eyes, but in his facial expressions and movements that also reflect his emotions without the need for a voice-over or dialogue.
Birthday Boy is based on Sejong Park's own childhood experiences of growing up in Pusan, South Korea. The influence of his hometown is reflected in the landscape, architecture, and layout of the city pictured in the film.
A sad, delicate story where the implications and the consequences are left off for the viewer.
Korean War, 1951 Little Manuk is playing on the streets of his village and dreaming of life at the front where his father is a soldier. He returns home to find a parcel on the doorstep and, thinking it is a birthday present, he opens it. But its contents will change his life. He wanders through streets of his Korean village and plays on his own. With an air of poignancy, we watch as he plays among the ruins of his town, watching an invading train fly past, forging new toys and acting out his dreams of becoming a soldier; just like his father. He is young, na ve and innocent; completely oblivious to the horrible nature of war. This brilliantly simple concept of portraying the horror of war through the na ve eyes of a child heightens the profound values Park is pushing through his film.
The little boy has so much character and is like no other character you've seen on the screen before. Manuk's 'cute' look was a conscious reflection of his innocence in a war-torn environment. We see the world not only through Manuk's eyes, but in his facial expressions and movements that also reflect his emotions without the need for a voice-over or dialogue.
Birthday Boy is based on Sejong Park's own childhood experiences of growing up in Pusan, South Korea. The influence of his hometown is reflected in the landscape, architecture, and layout of the city pictured in the film.
A sad, delicate story where the implications and the consequences are left off for the viewer.
Grace
Massimo Dall'Oglio self issued the magazineARTrosi and the serie Donnell&Grace. Actually he published his comics with Humanoides Associates.
9
Inspired by the work of stop motion animation masters Jan Svankmeyer, The Brothers Quay and the Lauenstein Brothers, Shane Acker sought to immerse the audience in gritty textural world inhabited by creatures composed of fabric scraps and bits of broken machinery.The fantasy artwork of Zdzislaw Beksinski and photographs of European cities destroyed in World War II inspired the scenic design. The non-verbal narrative is loosely based on the old English Poem Beowulf, and relies heavily on pantomime, combined with strong composition and staging to tell the story. The characters and sets are mostly comprised of every-day objects.
Although CGI, the movie will have a stylized look resembling stop motion.
After witnessing the death of his mentor "5" by the hands of the malevolent construct, the rag doll "9" must confront his fears. Now "9" must destroy the creature and steal the talisman of trapped souls it carries as a trophy.
9 took Shane Acker over 4 years to make, but it really shines in the details. This short is textural, spiritual, and haunting, a real delight to watch.
Although CGI, the movie will have a stylized look resembling stop motion.
After witnessing the death of his mentor "5" by the hands of the malevolent construct, the rag doll "9" must confront his fears. Now "9" must destroy the creature and steal the talisman of trapped souls it carries as a trophy.
9 took Shane Acker over 4 years to make, but it really shines in the details. This short is textural, spiritual, and haunting, a real delight to watch.
Sisyphus (1974)
Sisyphus is an artistically spare depiction of the Greek myth of Sysiphus, sentenced to eternally roll a stone up a mountain. The story is presented in a single, unbroken shot, consisting of a dynamic line drawing of Sysiphus, the stone, and the mountainside.
This short is about political oppression. The futile efforts of trying to create personal works of art are reflected in Sisyphus's unending struggle, with a cold, oppressive force trying to prevent the hero from doing what he has to do.
With only black lines and empty white space, Marcell Jankovics is still able to make us aware of the incredible strength of Sisyphus, and the tremendous weight of the rock. As the rock grows in size, and Sisyphus, despite his ample musculature, shrinks, we truly feel the frustration and pain of the title character.
He pulls back, and for a split second, becomes nothing more than a squiggle of lines. He comes rocketing back, once again his old muscular self for just a brief moment, and shoves the rock on to its final resting-place on the top of the mountain.
By having Sisyphus melt into the mountain, Jankovics is able to show us the exhaustion and frustration of the title character.
The pain is also reflected in the stunning sound track. Gasps and grunts. As the boulder gets bigger, the gasps turn into screams.
This short is about political oppression. The futile efforts of trying to create personal works of art are reflected in Sisyphus's unending struggle, with a cold, oppressive force trying to prevent the hero from doing what he has to do.
With only black lines and empty white space, Marcell Jankovics is still able to make us aware of the incredible strength of Sisyphus, and the tremendous weight of the rock. As the rock grows in size, and Sisyphus, despite his ample musculature, shrinks, we truly feel the frustration and pain of the title character.
He pulls back, and for a split second, becomes nothing more than a squiggle of lines. He comes rocketing back, once again his old muscular self for just a brief moment, and shoves the rock on to its final resting-place on the top of the mountain.
By having Sisyphus melt into the mountain, Jankovics is able to show us the exhaustion and frustration of the title character.
The pain is also reflected in the stunning sound track. Gasps and grunts. As the boulder gets bigger, the gasps turn into screams.
In The Zone
Rip's illustrations have appeared in Galleries and on CD's, Band Poster's, Newspapers and Magazines. Robert's style is whimsical, surreal, and his images tend to capture a specific moment or scene while keeping an underlying edge.
The Selfish Giant (1973)
The story's namesake giant erects a wall to keep children out of his garden, reaping the consequences of a continuous winter.
The story is based on Oscar Wilde's novel.
Peter Sander makes a well piece of animation.
The story is based on Oscar Wilde's novel.
Peter Sander makes a well piece of animation.
Maestro (2005)
Five minutes before his big performance, the Maestro and his persistent mechanical assistant are in preparation mode. As the clock ticks, life at the top is not all it seems. The multi award-winning Maestro blends an operatic aria with CG animation.
Géza M. Tóth put a great effort in the sound design: you'll notice how nothing has been left to chance.
The "camera" roams 360 degrees around the little room so we see what's going on from all angles.
Géza M. Tóth put a great effort in the sound design: you'll notice how nothing has been left to chance.
The "camera" roams 360 degrees around the little room so we see what's going on from all angles.
Deep Sea Tentacle
Deep Sea Tentacle is reminiscent of Norman McLaren’s early shorts.
One major theme in Kojirō Shishido’s work is reflections. He shows us beautiful reflections not only in surfaces like water, mirrors, but also in moving tentacles. Shishido renders his realistic backdrops images slightly blurry, endowing them with the hazy quality of memories or dreams.
Shishido clearly enjoys the possibilities of light and shade in his films. Not only does he experiment with intensity of light, but he also plays with the patterns made by light when it encounters different objects.
One major theme in Kojirō Shishido’s work is reflections. He shows us beautiful reflections not only in surfaces like water, mirrors, but also in moving tentacles. Shishido renders his realistic backdrops images slightly blurry, endowing them with the hazy quality of memories or dreams.
Shishido clearly enjoys the possibilities of light and shade in his films. Not only does he experiment with intensity of light, but he also plays with the patterns made by light when it encounters different objects.
The Critic (Oscar 1963)
Mel Brooks is an old man watching abstract animations. Simple, abstract, geometric shapes move and morph on the screen to what sounds like harpsichord music.
He doesn't understand them, so he heckles with strange commentary, to the annoyance of those around him.
In the background we hear a man giving his ideas about what he sees, completely without a clue. The voice of an audience member, who claims to be 71, complains through out most the film despite being told repeatedly by other audience members to keep quiet.
The voice is from Mel Brooks.
He doesn't understand them, so he heckles with strange commentary, to the annoyance of those around him.
In the background we hear a man giving his ideas about what he sees, completely without a clue. The voice of an audience member, who claims to be 71, complains through out most the film despite being told repeatedly by other audience members to keep quiet.
The voice is from Mel Brooks.
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