What does the animation mean for you?
Animation is my life. That feeling of sitting in front of a moving image which was stylized and abstract and yet still portrayed the illusion of life… that stuck with me from an early age. I love animation as a medium for telling stories in feature length movies because it allows you to fully immerse yourself in a world that has all the beauty of a painting, or a piece of graphic art, or a sculpture, and believe that it’s a real place. Animation to me is about making an object or an image move onscreen and have a room full of people totally believe that it’s a living, breathing character.
How did you start in animation film industry?
I spent a lot of time drawing and working on my own projects long before I pursued animation as a career. The first step for me professionally was moving to London and getting a really low level creative job in a studio. I worked at a place that provided storyboards for live action commercials, but for various reasons I was a bit of a round peg in a square hole there, so I found a way to escape. I learned the producer of a nearby animation studio drank in one of my local pubs, so one night I just turned up at his side waving my portfolio under his nose. I got an interview, and then a designing job soon after!
From whom did you learn animation?
I was definitely self taught. From the earliest age I knew that my future lay in animation, so I doggedly pursued it and read everything I could on the subject. I watched every animated movie, tv show and holiday special. I devoured everything I could on the medium. By the time I got to college I already knew the principles, and my sensibilities, and I took that opportunity to explore them further.
You had the opportunity to work for Disney and Tim Burton. The main character from ParaNorman looks more like Tim Burton universe then Disney. Did your experience at Disney and Tim Burton put its mark on the production of ParaNorman?
Disney certainly helped shape my formative artistic mind, but after that I found other inspirations. Of course, I think every project we work on shapes us a little in some way, and working on Corpse Bride was a privilege. But I think by that point my stylistic sensibilities were pretty much set. I think a bigger stylistic influence on ParaNorman comes from the Amblin [-produced] movies of the ‘80s which I grew up watching, like The Goonies and E.T. Those movies had spark, warmth, and affection – and weren’t condescending to kids.
How would you describe ParaNorman?
ParaNorman is John Carpenter meets John Hughes. On the surface it’s a fun rollercoaster ride but underneath is really about issues that kids contend with on a daily basis: fitting in, the formation of identity, bullying, zombie invasion. The usual stuff.
What is the message of the film?
Don’t judge a book by its cover. And don’t fit in if you can stand out.
How do you manage to make films in this period of crisis?
Movies keep getting made… it’s true that people often flock to the movies in times of crisis as a kind of escapism. Me, I’m fortunate enough to work for a company, LAIKA, that cares deeply about the art of animation. It’s a business, of course, but it’s art first.
What could be the solution for European animation in this time of economic crisis?
I could be wrong on this, but it actually seems like the landscape of feature animation has gotten healthier over the last few years, and I believe that’s because more diverse projects are happening simultaneously. There’s a lot of very cool, small-budget feature animation going on, and maybe that’s as a result of the economic climate.
What about European animation?
What do you know about Romania and Romanian cinema?
I know that Romania has a very healthy and vibrant animation festival, which I’d love to go to some day.
According to U.S. media reports, animated films are the most profitable investment in the film industry. What do you think?
This is undoubtedly true when one considers the handful of major studio big budget releases that make hundreds of millions of dollars. But in a sense the movie industry today is dripping with animation. Most blockbusters employ huge amounts of animated effects. It’s getting harder to draw a distinction between an animated movie and a live action fx movie.
What books do you read?
I have eclectic tastes. Where possible I like to keep an eye on what’s going on in the world of childrens’ fiction.
What kind of animated films do you like?
I watch all of ‘em, and I usually find something to like even if it’s not entirely my taste. My preference is for movies that engage the brain… not just the eyes.
What future projects do you have?
I’m working on a bunch of stuff. I’m happy to be writing for a while.
Photo: IMDb
