| 00:00:12 | >> THIS IS "WRITERS TALK."
THE COLUMBUS COLLEGE OF ART AND
DESIGN HAS A STRONG PROGRAM IN
ANIMATION. |
| 00:00:29 | JOINING ME TODAY IS ANDY FRIZ, A
FREE-LANCE COMMERCIAL ANIMATOR,
AND GREG BROWE, A CORE MEMBER OF
A PROJECT FOCUSING ON A |
| 00:00:44 | STORYTELLING PROCESS FROM A
STUDENT'S POINT OF VIEW.
WELCOME.
TALK TO ME ABOUT STORYTELLING |
| 00:00:52 | AND ANIMATION.
IS IN THE PICTURES OR THE STORY
THAT LEADS TO THE PICTURES?
>> ANDY AND I WERE JUST TALKING |
| 00:01:03 | ABOUT IT IS A LITTLE BIT OF
BOTH.
YOU ARE SKETCHING AND THERE ARE
SOME THINGS YOU CAN ONLY SAY |
| 00:01:13 | WITH A SKETCH AND SOME THINGS
YOU CAN ONLY SAY WITH WORDS.
MAYBE THERE IS SOMETHING ABOUT
WHAT YOU ARE FEELING, THAT |
| 00:01:23 | DRAWING CAN ONLY DESCRIBE, BUT
THEN YOU HAVE TO BE EXPLICIT
ABOUT SOME OTHER THINGS IN ORDER
TO CARRY ON THAT DISCUSSION. |
| 00:01:31 | YOU HAVE TO PUT WORDS TOGETHER
OR DRAWINGS TOGETHER.
>> SO YOU ARE IN COMPLETE
AGREEMENT WITH HIM. |
| 00:01:40 | >> MOST OF THE TIME.
>MOST PROJECT START WITH A
SCRIPT AND THEN GO TO
STORYBOARDS. |
| 00:01:48 | A LOT OF COMMERCIALS WILL START
WITH RUDIMENTARY SCRIPPS ALONG
WITH THUMBNAILS AND GET
ELABORATED ON FROM THERE. |
| 00:01:56 | THEN, FEATURE FILMS A LOT OF
TIMES START WITH BARE SCRIPT
IDEAS AND MOST OF THE WORK IS
DONE IN STORYBOARD FORM WITH A |
| 00:02:10 | LOT OF REVISIONS.
>> TELL ME ABOUT WHEN YOU ARE
STARTING WITH A STORYBOARD.
WHAT IS YOUR PROCESS? |
| 00:02:18 | YOU HAVE THE PICTURES AND MAYBE
THE SCRIPT.
DOES IT LOOK LIKE A COMIC BOOK?
>> YOU HAVE GOT WORDS AND NOTES |
| 00:02:30 | EVERYWHERE.
THERE ARE SPECIFIC DIAGRAMS,
SPECIFIC SAMPLES, WAYS OF
COMMUNICATING, SAY, A CAMERA |
| 00:02:38 | TURN, PAN, BOOM, WHATEVER.
THERE ARE OTHER DIRECTIONS THAT
YOU HAVE.
SOUND EFFECTS. |
| 00:02:47 | THAT PROGRESSES INTO ANIMATION.
THAT IS LIKE A STORY BOARD IN
MOTION.
>> IT ALSO ENDS UP LOOKING LIKE |
| 00:02:56 | AN ILLUSTRATED SCRIPT.
YOU WILL HAVE A PAGE WITH TWO TO
THREE DRAWINGS OR PANELS AND
THEN INFORMATION BELOW THAT, |
| 00:03:08 | NOTES ON ACTIONS, DURATION OF
THE SCENE, AND THE NOTING OF
SOUND EFFECTS, THAT SORT OF
THING. |
| 00:03:15 | >> WHAT IS YOUR BACKGROUND?
IN TERMS OF WRITING STORIES.
WHEN YOU WERE A KID, DID YOU DO
THE FLIP THINGS? |
| 00:03:26 | WAS THAT SOMETHING YOU DID AS A
KID?
HOW DID THIS GROW AS AN INTEREST
FOR YOU? |
| 00:03:37 | >> IT WAS A LITTLE BIT OF
EVERYTHING.
MY OLDER BROTHER AND I WERE
REALLY INTO COMIC BOOKS. |
| 00:03:44 | I THINK THAT STARTED MY INTEREST
INTO STORYTELLING AND HAVING
DRAWINGS AND ILLUSTRATIONS IN
SEQUENCE. |
| 00:03:52 | I WAS STARTING TO WATCH TV
ESPECIALLY WHEN I WAS NOT
SUPPOSED TO.
I WAS WAKING UP EARLY TO WATCH |
| 00:04:01 | CARTOONS.
>> YOU OWN YOUR OWN TV NOW IS
PRACTICALLY EMPATHETIC ".
>SO YOU WERE WATCHING THESE |
| 00:04:14 | CARTOONS -- WHAT WERE YOU
WATCHING?
>> I WOULD TRY TO WAKE UP
EARLIER ENOUGH TO SAEE THINGS |
| 00:04:23 | LIKE SHOWS THAT NOBODY ELSE
KNOWS.
THEY WERE JAPANESE AND THEY
COULD NOT TRANSLATE THE DIALOGUE |
| 00:04:35 | BECAUSE IT MADE ABSOLUTELY NO
SENSE IN ENGLISH, SO THEY MADE
UP ENTIRELY NEW VOICE ACTING
FOR THE WHOLE THING. |
| 00:04:45 | >> OBVIOUSLY, THE MOUTHS DON'T
MATCH THE DIALOGUE, BUT
SOMETIMES THE ACTIONS SEEM TO
BE WHOLLY UNRELATED TO WHAT THEY |
| 00:04:59 | ARE SAYING.
THIS SEEMS RIGHT -- THIS SEEMS
LIKE A REALLY INTERESTING MOMENT
FOR SOMEONE WHO WANTS TO GET |
| 00:05:07 | INTO STORYTELLING.
IT IS NOT ONE STORY TELLING
STRAND.
THEY ARE PICKING OUT AND MAKING |
| 00:05:16 | OTHER STRANDS OUT OF IT.
IS THAT A COMMON THING THAT YOU
HAVE EXPERIENCED?
>> THERE ARE A LOT OF INTERNET |
| 00:05:24 | MASHUPS.
THERE ARE OFTEN HUMOROUS
RESULTS.
>> WHAT IS AN ANIMATOR'S |
| 00:05:35 | REACTION TO THAT?
>> AS LONG AS IT IS FUNNY.
>> THERE IS A DICHOTOMY WITHIN
WRITERS AND ANIMATORS, WITHIN |
| 00:05:50 | THAT TV INDUSTRY.
SOME WILL SAY THAT SOME SHOWS
ARE WRITER-DRIVEN AND FEW THAT
ARE ANIMATOR-DRIVEN. |
| 00:06:03 | "THE SIMPSONS," "FAMILY GUY."
THOSE ARE PRETTY WRITER-DRIVEN
SHOWS.
REVISIONS WHERE ANIMATORS LIKE |
| 00:06:18 | TO HAVE FUN ARE PRETTY EFW.
-- PRETTY FEW.
>> WHEN YOU SEE THE ANIMATORS
GET TO HAVE FUN, YOU MEAN THEY |
| 00:06:29 | ARE DOING THINGS WITH THE
DRAWINGS THAT THEY WOULD PREFER
TO DO BUT YOU CANNOT GET AWAY
WITH SAY ON "THE SIMPSONS." |
| 00:06:38 | >> EVERY PROFESSIONAL HAS THEIR
OWN DIALOGUE THAT IS HAPPENING
WITHIN THAT COMMUNITY.
DISCUSSIONS BETWEEN WRITERS ARE |
| 00:06:50 | DIFFERENT DISCUSSIONS BETWEEN
ANIMATORS BECAUSE WRITERS ARE
OFTEN TALKING ABOUT PROBLEMS OR
ARE CONCERNED ABOUT IDEAS IN |
| 00:06:59 | WRITING OR SCREENWRITING.
BUT AN ANIMATOR, WE HAVE A
CURRICULUM IN THE FINE ARTS AND
DESIGN SO WE ARE TALKING ABOUT A |
| 00:07:11 | TOTALLY DIFFERENT HISTORY OF
ANIMATION OF PAINTING AND
SCULPTURE AND PHOTOGRAPHY.
EVENTUALLY, WE REALIZE WE CANNOT |
| 00:07:22 | DESCRIBE ALL OF THAT.
ALL WE CAN DO IS PROVIDE THE
SENSATION OF THESE THINGS.
>> SO YOU ARE TALKING ABOUT THE |
| 00:07:31 | WRITERS WOULD BE MORE CONCERNED
WITH WORDS, BUT FOR ANIMATORS,
THE VISUALS.
THAT YOU NEED TO HAVE A |
| 00:07:38 | DIFFERENT BACKGROUND AND THEN
THEY COME TOGETHER AT SOME LATER
POINT.
>> KIND OF. |
| 00:07:43 | THERE IS STILL A VERBAL
DISCUSSION OR TALK OF ESTHETICS
AND DISCUSSION WITHIN THOSE
AEROSTATICS -- AS THAT IT. |
| 00:07:58 | IS IT ARRIVES IN A DIFFERENT
FORMAT.
>> YOU ARE IN COMPLETE AGREEMENT
AGAIN? |
| 00:08:03 | >> ABSOLUTELY.
BY THE TIME IT GETS TO THE
ANIMATOR, MOST OF THE STORY
PROBLEMS HAVE ALL BEEN SOLVED, |
| 00:08:13 | SO THE ANIMATOR IS CONCERNED
ABOUT BEING THE ACTOR, GIVING
THE PORTRAYAL OF THE ACTORS
WORDS AND THE CHARACTER'S |
| 00:08:22 | EMOTIONS UPON THE SCREEN.
AT THAT POINT, HE DOES NOT HAVE
MUCH TO DO WITH THE STORY
ANYMORE EXCEPT FOR THE |
| 00:08:30 | PERFORMANCE.
WHEN YOU ARE AN INDEPENDENT
ANIMATOR WHO IS TELLING THE
FILMED ENTIRELY HIMSELF, THEN |
| 00:08:40 | THE STORY CAN CHANGE AT ANY
POINT AND THE ANIMATION CAN
DRIVE CHANGES IN THE STORY.
IT MAY TAKE IT AND DIFFERENT |
| 00:08:48 | DIRECTION.
BWHEN YOU ARE WRITING, THE WRITR
CAN TAKE YOU OFF IN A DIFFERENT
DIRECTION THAN YOU WERE |
| 00:08:59 | ANTICIPATING.
>> IT SEEMS LIKE ONE OF THE BIG
AREAS THAT HAS TO BE HARD FOR
ANIMATION IS TALKING ABOUT |
| 00:09:08 | REVISION.
YOU START DRAWING SOMETHING BUT
NO MATTER WHAT YOU ARE DRAWING
YOU HAVE TO HAVE IN MIND THAT |
| 00:09:14 | STORY AS WELL.
THIS COULD JUST BE ME BECAUSE I
AM NOT A PARTICULARLY VISUAL
PERSON. |
| 00:09:21 | HERE IS AN INTERESTING SCENE AND
THEN THERE IS ANOTHER SCENE.
YOU KNOW THERE IS THAT STORY
THERE. |
| 00:09:28 | YOU HAVE ALL OF THIS STUFF
LEADING UP TO IT THAT YOU HAVE
TO THROW AWAY WHICH SEEMS LIKE
WOULD BE A TERRIFICHORRIFIC.G |
| 00:09:45 | IT SEEMS LIKE YOU HAVE MORE
TIME WITH ANIMATION.
>> AND LOGGER FOR THINGS LIKE
FEATURE FILMS, THEY REALLY START |
| 00:09:56 | FROM THINGS -- FOR LOGGER THINGS
LIKE FEATURE FILMS, THEY REALLY
START -- FOR A LONGER THINGS
LIKE FEATURE FILMS, THEY REALLY |
| 00:10:04 | START WITH STORYBOARDS.
THEY ARE TOTALLY UNAFRAID TO
THROW AWAY SOMEONE'S ENTIRE YEAR
OF WORK. |
| 00:10:16 | THEY CAN CHANGE SOMETHING AND DO
SOMETHING DIFFERENT.
>> AND THAT IS WHY THE BURNOUT
RATE FOR ANIMATORS IS INCREDIBLY |
| 00:10:27 | HIGH.
>> ANIMATORS ARE A LOT MORE
ABOUT DRAWINGS AND PERFORMANCES.
>> ONE OF THE THINGS IS |
| 00:10:41 | ANIMATION ALWAYS SEEMS TO BE ONE
OF THE FREEST WAYS TO TELL THE
STORY.
YOU DO NOT HAVE TO WORRY ABOUT |
| 00:10:50 | LOCATION, MAKEUP, THE ACTORS,
VOICE ACTORS, PUT ANY OF THAT
STUFF IN.
IT IS A WAY OF TELLING THAT |
| 00:11:00 | THERE HAS TO BE ADVANTAGES AND
DISADVANTAGES BECAUSE IT IS NOT
TRADITIONAL VIDEO.
TELL ME ABOUT WHEN YOU ARE |
| 00:11:08 | WORKING ON SOMETHING OR THINKING
THIS WOULD BE A GREAT IDEA FOR
ANIMATION.
IS THAT WHEN YOU FEEL LIKE YOU |
| 00:11:16 | CAN DO ANYTHING YOU WANT?
I COULD SET IN OUTER SPACE AND
COULD HAVE ANYTHING THAT OCCURS
TO ME OCCUR. |
| 00:11:24 | IN SCIENCE FICTION, THE ALIENS
ALWAYS LOOK A LOT LIKE PEOPLE
BECAUSE IT IS EXPENSIVE.
>> IN STAR TREK, THEY CHANGED |
| 00:11:38 | THE NOSE.
>> THAT WAS THE LEAST EXPENSIVE
WAY OF CREATING IT.
ANIMATION IS NOT LIKE THAT. |
| 00:11:48 | DOES THAT FIGURE IN WHEN YOU ARE
TALKING ABOUT STORIES?
DO YOU LIKE TO TRY TO STAY MORE
REALISTIC? |
| 00:11:57 | >THERE ARE CERTAIN STORYTELLING
THINGS OR PRESETS THAT YOU HAVE
TO STICK TO.
>> YOU HAVE TO STAY WITH |
| 00:12:07 | SOMETHING BELIEVABLE, NOT
NECESSARILY A REALISTIC.
IT HAS TO HAVE A ROOT IN
REALITY AND THE CHARACTERS HAVE |
| 00:12:16 | TO BE BELIEVABLE.
THEIR ACTIONS HAVE TO BE
BELIEVABLE.
IF YOU ARE TELLING A PRINCESS |
| 00:12:24 | FAIRY TALE AND ALL THE SUDDEN
THEY GET SUCKED UP INTO A
SPACESHIP, THAT IS GOING TO LOSE
MOST OF THE AUDIENCE BECAUSE IT |
| 00:12:32 | IS NOT PARTICULARLY SUITABLE FOR
THAT STORY.
WHEN YOU ARE COMING UP WITH
ANYTHING, THERE IS NO LIMIT -- |
| 00:12:41 | YOU DO NOT HAVE TO LIMIT
YOURSELF TO A BUDGET OF WHAT YOU
CAN FROM OR WHAT SETS YOU CAN
BUILD. |
| 00:12:49 | BUT YOU HAVE TO HAVE SOMETHING
THAT WORKS AS A STORY.
>> ONE OF MY ANIMATION HEROES,
DAVID O'REILLY, IT DEFINITELY |
| 00:13:00 | PUSHES THE ENVELOPE ABOUT THE
CONCEPT OF WHAT IS BELIEVABLE.
HE HAS RIDING ON HIS WEB SITE
TALKING ABOUT WHAT MAKES UP |
| 00:13:12 | BELIEVABLILITY.
IF YOU CUT FROM ONE BELIEVABLE
REALITY FROM THE NEXT, PEOPLE
SORT OF FALL INTO THAT DYNAMIC. |
| 00:13:29 | SO, HIS FILMS, ESPECIALLY HIS
MOST RECENT ONE, "THE EXTERNAL
WORLD, " CHALLENGES WILL BE
CONSIDERED TO BE MAGICAL AND |
| 00:13:39 | CENTS SENSICAL.
YOU DEFINITELY START OUT IN THAT
BLUE EYONDER AREA.
SO THERE ARE SOME PEOPLE OR SOME |
| 00:13:57 | DIRECTORS, WRITERS, WHO TEND TO
GO TOWARD THE MORE REALISTIC.
THERE IS SOME OF THAT THAT
HAPPENS, AND THEN THERE ARE |
| 00:14:06 | OTHERS THAT GO OUT EVEN FURTHER
INTO THE UNKNOWN.
>> OK, I LOVE THIS IDEA, BUT IT
IS SO FAR OUT THERE THAT IT WILL |
| 00:14:19 | BE HARD TO WORK FOR A
STORYTELLING PURPOSE OR MAYBE
EVEN A DRAWING PURPOSE.
IS THAT ONE OF THE COMMON |
| 00:14:28 | PROBLEMS?
OR IS IT THE OTHER SIDE?
YOU ARE BEING TOO REALISTIC AND
THEY DO NOT HAVE ANYTHING |
| 00:14:36 | SPECIAL AS CHARACTERS.
>> I CANNOT EVER RECALL RAINING
SOMEONE IN AT THAT STAGE.
I LOVE TO ENCOURAGE THEIR |
| 00:14:47 | CREATIVITY AND FOR THEM TO PUSH
THOSE BOUNDARIES.
AS THEY START WORKING THROUGH
THE PROCESS, THEY START TO PULL |
| 00:14:55 | THEMSELVES BACK ANY WAY INTO
SOMETHING THEY FEEL LIKE THEY
CAN DO.
AS FAR AS BEING TOO REALISTIC, I |
| 00:15:06 | DO NOT KNOW IF I HAVE EVEN RUN
INTO THAT YVES THERE.
THERE ARE SOME THINGS THAT YOU
SHOULD ANIMATE BECAUSE YOU |
| 00:15:16 | CANNOT DO IT IN LIVE ACTION.
IF YOU CAN, I USUALLY ASK THEM
WHY BOTHER HAND WRITING THIS AT
ALL? |
| 00:15:24 | WHY NOT SHOOT THIS ON VIDEO?
NOW YOU CAN DO GREEN SCREEN AND
DO THE WHOLE SKY CAPTAIN.
WHERE THERE IS NO SET AT ALL |
| 00:15:37 | ANYWHERE.
>> AN INTERESTING REACTION.
THAT IS A STORY THAT CAN ONLY BE
DONE THROUGH CGI WHICH SEEMS TO |
| 00:15:48 | BE RELATED TO ANIMATION BUT I DO
NOT KNOW THE INS AND OUTS OF
HOW THAT STUFF IS PRODUCED.
IT HAS NOW MOVED INTO THIS PLACE |
| 00:16:00 | WHERE IT IS BLURRING WHAT YOU
CAN AND CANNOT SEE.
BABE THE PIG WAS SOME CGI STUFF.
FOR YOU, THAT IS NOT ANIMATION. |
| 00:16:14 | >> THERE WAS ALWAYS THE USE OF
SPECIAL EFFECTS AND FILMMAKING
-- IN FILMMAKING.
IT IS GETTING TO WHERE YOU CAN |
| 00:16:30 | BLUR OF THAT LINE MORE
REALISTICALLY OR MORE BELIEVABLY
ALL THE TIME LIKE WE WERE
TALKING ABOUT "AVATAR" AND |
| 00:16:38 | SOMETHING ELSE EARLIER.
>> THAT IS ALMOST LIKE BLENDING
ANIMATION --
>> THAT IS STILL ANIMATION |
| 00:16:50 | BECAUSE YOU HAVE ANIMATED
CHARACTERS IN A LIVE ACTION
WORLD.
IT IS BLURRING THAT LINE. |
| 00:16:57 | IT IS FURTHERING THE
STORYTELLING POSSIBILITIES.
THERE SEEMS TO BE THE LAST
THINGS YOU CAN DO WITH LIVE |
| 00:17:06 | ACTION NOW.
>> SO NOW YOU START OFF AND SAY
WE ARE GOING TO TELL THIS STORY
AND THIS IS JUST AN ADD-ON AS A |
| 00:17:17 | PART OF THE THINGS THAT YOU CAN
PULL FROM SO IT DOES NOT MATTER
BUT IT GOES BACK TO THE
INTERESTING THING YOU SAID |
| 00:17:24 | EARLIER -- WHY BOTHER DO IT WITH
ANIMATION?
>> IT IS A LOT MORE TIME
CONSUMING AND IS THEREFORE MORE |
| 00:17:33 | EXPENSIVE TO DO ANIMATION.
>> HOW DO YOU EXPLAIN THE
CHANGES IN TECHNOLOGY AND HOW
THEY HAVE CHANGED YOUR |
| 00:17:42 | STORYTELLING ABILITIES?
BECAUSE IT IS SO TIME-CONSUMING.
THAT IS THE QUESTION.
>> I FEEL LIKE IT IS -- IT HAS |
| 00:17:52 | FREED ME UP TO DO OTHER THINGS
AND ALLOWS ME TO COMMENT ON THE
FRAMEWORK OF ALL OF THAT
TECHNOLOGY. |
| 00:17:59 | FOR MY THESIS AND THE WORK I
HAVE DONE WITH MY STUDENTS,
CONTRASTING OLD AND NEW
TECHNOLOGYY. |
| 00:18:09 | WITH "AVATAR," EVERYTHING IS
SORT OF SAME LESS.
-- SEAMLESS.
THERE ARE A LOT OF PEOPLE WHO |
| 00:18:26 | SEE THAT HAPPENING AND WANT TO
RESPOND WITH A REGRESSION.
OF COURSE WE ARE DOING THAT.
LET'S SEE WHAT WE CAN DO WHEN |
| 00:18:38 | THESE DO NOT MIX.
>> ANDY, TELL ME ABOUT BEING A
FREE-LANCE COMMERCIAL AND A
MAITRE. |
| 00:18:46 | PEOPLE COME TO YOU WITH
PROJECTS.
AS AN ANIMATOR/EDUCATOR WHO IS
WORKING WITH PEOPLE ABOUT |
| 00:18:54 | STORYTELLING, WHAT IS YOUR
REACTION WHEN THEY BRING YOU
SOMETHING?
SAY IT IS A COMMERCIAL AND THEY |
| 00:19:03 | SAY HERE IS OUR CAR WAX.
HOW CAN YOU USE ANIMATION TO
FURTHER OUR STORY AND WHAT WE
WANT TO SAY? |
| 00:19:11 | THEY ARE APPLAUDING WA --
APPLYING WAX TO THE CAR.
WHAT DO YOU SAY TO THEM?
HERE IS WHERE WE ADD SOMETHING |
| 00:19:28 | UNEXPECTED AND UNUSUAL THAT
LENDS ITSELF TO THE STORY THAT
CREATES A NARRATION OF THE
PRODUCT. |
| 00:19:36 | >> MOST THE TIME, THERE HAS BEEN
A LOT OF DISCUSSION ALREADY
BETWEEN THE AD AGENCY AND THE
CLIENT, AND THEY HAVE COME UP |
| 00:19:45 | WITH PRETTY MUCH WHAT THEY WANT
ALREADY.
THERE IS NOT A WHOLE LOT OF
CHANGING BUT THE TIME COMES TO |
| 00:19:51 | ME.
WHEN IT IS WIDE OPEN -- WE HAD
AN INKLING OF AN IDEA OF WHAT WE
WANTED TO DO AND THROUGH SOME |
| 00:20:05 | IDEAS BACK AND FORTH BETWEEN THE
PRODUCER AND WE CAME UP WITH
SOME EXTRA BUSINESS THAT WE
COULD DO THAT WE CAN ONLY DO |
| 00:20:13 | WITH ANIMATION.
THERE WAS A PART WHERE A MACHINE
GUN WAS SHOOTING OUT COLORS FROM
A MACHINE GUN. |
| 00:20:23 | THE MACHINE GUN COMES TO LIFE
AND SWALLOWS UP THE GUY THAT WAS
SHOOTING AND SWALLOWS UP THE
COLORS. |
| 00:20:30 | JUST LIKE WITH OTHER ANIMATION
STUFF YOU CANNOT DO IN LIVE
ACTION OR MAKE SOMETHING MORE
COLLCOLORFUL OR ZIPPIER ACTION, |
| 00:20:47 | WHEN YOU NEED THE TALENTS OF JIM
CARREY TO BE THAT EXTREME IF YOU
ARE GOING TO FORCE SOMETHING
HUMOROUS. |
| 00:20:53 | OTHER THINGS YOU CAN DO WITH
COLOR PALETTES AND TIMING TO
MAKE SOMETHING MORE SAD W ITH
ITH HEAVIER EMTIONS. |
| 00:21:04 | >> IF YOU LOOK AT DIFFERENT
KINDS OF ANIMATIONS AND THE WAY
THEY AFFECT STORIES, PIXAR IS
OFTEN TAKEN AS ONE OF THE HIGH |
| 00:21:17 | WATER MARKS OF STORYTELLING.
THEY CAN DO THESE AMAZING THINGS
WITH IMAGES, BUT IT IS ALSO
THEIR STORYTELLING THAT PEOPLE |
| 00:21:26 | COME BACK TO.
I AM CURIOUS HOW YOU APPROACH
THAT AND SAY WHAT ARE THE
ASPECTS OF THIS THAT ARE WORKING |
| 00:21:32 | VERY WELL VERSUS THOSE THAT --
MAY BE A DISNEY FILM FROM A
WHILE BACK THAT DID NOT DO AS
WELL? |
| 00:21:42 | THAT DISNEY HAD FORGOTTEN STORY
TELLING AND THAT WAS ONE OF THE
CHARGES AGAINST IT.
BECAUSE IT WAS A VERY DIFFERENT |
| 00:21:57 | SORT OF STORY TELLING ARM.
I AM CURIOUS HOW YOU HANDLE THAT
AT A PROGRAM THAT YOU ARE
WORKING. |
| 00:22:04 | >> WHEN PIXAR COMES UP WITH AN
IDEA, IT IS OVER HALF OF THE
DEVELOPMENT PROCESS.
AND A LOT OF THE FILMS THAT COME |
| 00:22:16 | ALL TODAY FROM PIXAR, A FEW GUYS
CAN TOGETHER TO TALK OVER FOOD,
AND BEFORE IT WAS REALLY WHAT IS
,THEY HAD THOUGHT OF "WALL-E" |
| 00:22:35 | AND HAD DRAWN OUT THE
CHARACTERS AND ADJUSTED IT OVER
A PERIOD OF TIME AND THEN THEY
DECIDED TO APPLY THE SOFTWARE |
| 00:22:43 | AND WORK IN 3D PROGRAMS TO
RENDER OUT THAT MOVIE.
I THINK A LOT OF IT IS JUST --
PIXAR'S STUFF, EVEN THOUGH IT IS |
| 00:22:59 | REALLY BIG MOST OF THE TIME,
CHARACTERS GOING ON GRANDIOSE
JOURNEYS, THEY ARE IN THIS GIANT
ENVIRONMENT, THE THINGS THAT |
| 00:23:07 | THEY ARE SAYING ARE VERY CLOSE,
VERY INTIMATE, VERY SMALL
STORYTELLING.
SO THE WRITING, EVEN THOUGH THE |
| 00:23:20 | VISUAL ENVIRONMENT CAN BE
MASSIVE, THE STORY LINE IS STILL
VERY HUMAN, VERY CLOSELY HUMAN.
>> IT ZEROES IN ON THESE |
| 00:23:31 | CHARACTERS.
THE OLD GUY AND THE KID.
YOU HAVE SULLY AND MIKE.
YOU FOCUS ON THAT. |
| 00:23:48 | -- THE LITTLE GIRL REALLY DOES
NOT SPEAK DURING THE WHOLE
THING.
IS THAT SOMETHING YOU SAY, |
| 00:23:57 | STUDENTS PAY ATTENTION TO PIXAR
AND HOW THEY FOCUS ON THE
STORIES?
ARE YOU MORE EXPERIMENTAL? |
| 00:24:04 | >> IT DEPENDS ON WHAT THE
STUDENTS WANT.
I DO NOT TRY TO PUSH ANYONE IN A
PARTICULAR KIND OF STORYTELLING. |
| 00:24:13 | I DO NOT WANT PEOPLE TO
IMMEDIATELY PEG WORK AS A CCAD
FILM.
>> YOU GUYS ARE NOT PRODUCING A |
| 00:24:25 | SCHOOL.
IN THE SENSE THAT YOU CAN LOOK
AT SOMETHING LIKE THE SCHOOL OF
BUT THAT IS NOT SOMETHING YOU |
| 00:24:37 | ARE AFTER.
>> AS MUCH AS POSSIBLE, LETTING
OF THE ONES WHO WANT TO BE
ARTISTS BE ARTISTS, AND THE |
| 00:24:48 | ONES THAT WANT TO GO INTO THE
COMMERCIAL WORLD, TRIED TO GIVE
THEM THE TOOLS TO DO THAT.
SO, IF IT WAS EASY TO QUANTIFY |
| 00:25:00 | WHAT IT IS THAT PIXAR DOES AND
WHAT WORKS, EVERYBODY WOULD BE
DOING IT. IT IS SO DIFFICULT.
I HAVE BEEN IN STORY PHASES FROM |
| 00:25:12 | FEATURE FILMS, AND SOMETIMES YOU
HAVE OUTSIDE CONSTRAINTS.
TO THE HAVE TO GO THIS PLACE
BECAUSE WE NEED THIS -- WE HAVE |
| 00:25:25 | TO GO THIS PLACE BECAUSE WE NEED
THIS TOY.
SO MAYBE THAT FREEDOM IS PART
OF IT. |
| 00:25:43 | HAVING THE FREEDOM AND THE TIME
TO KEEP PUSHING THE DATE BACK IF
THEY NEED TO AND NOT TRY TO FIT
A DELIVERY SCHEDULE THAT A |
| 00:25:53 | LARGER CORPORATION WANTS TO CRAM
THAT THING INTO.
EVEN SOME VERY ADMIRED DIRECTORS
THAT WE ALL LIKE -- THEY HAD IN |
| 00:26:08 | THIS FIRE RECENTLY, TOO.
>> NOT THAT YOU ARE GOING TO
NAME IT.
>> VISUALLY, IT LOOKS LIKE ALL |
| 00:26:16 | THEIR OTHER STUFF.
THE CHARACTERS LOOK EXACTLY THE
SAME.
IT IS A VERY SIMILAR TYPE OF |
| 00:26:22 | STORY TO OTHERS BUT IT DID NOT
WORK AS WELL.
IT MADE A PRETTY GOOD AMOUNT OF
MONEY IN JAPAN BUT IT ALSO WANT |
| 00:26:31 | THEIR VERSION OF "THE RAZZIES."
>> ONE THING I HAVE NOT BEEN
ABLE TO GET IS THEY SEEM TO BE
MORE INTERESTED IN THE CRAZY |
| 00:26:44 | VISUALS THAN THE STORY.
THAT SEEMS TO BE -- YOU ARE MORE
INDIVIDUAL AND I WONDER IF THAT
IS PARTLY SOME OF THE DIFFERENT. |
| 00:26:56 | >> I THINK SOME OF THEIR STORES
ARE JUST FANTASTIC.
THEY DO A WIDE VARIETY OF
STORIES. |
| 00:27:04 | ONE STORY HAD NO VILLAIN AOR NO
ANTAGONIST.
I AM SURPRISED HOW MANY ADULTS
LIKE. |
| 00:27:20 | THERE IS NO HACKING OFF OF LIMBS
AND THAT 1.
>> YOU HAVE TO GO TO THE OLD
"LORD OF THE RANINGS." |
| 00:27:34 | THE STORYTELLING WAS NOT ALL
THAT HOT SO SOME OTHER THINGS
WERE DONE TO EXONERATE IT.
THE LAST QUESTION IS WHO ARE YOU |
| 00:27:45 | WATCHING RIGHT NOW AS
STORYTELLERS/ANIMATORS THAT ARE
COMING OUT?
IS THERE ANYBODY SMALLER THAT IS |
| 00:27:54 | COMING OUT THAT IMPRESSES YOU
WITH THEIR ABILITY TO TELL THE
STORY THROUGH ANIMATION?
>> WE ARE BIG FANS WHO MADE "THE |
| 00:28:04 | ILLUSIONIST."
AN AMAZING FRENCH 2D ANIMATOR
WITH SOME REALLY STRONG WORK
THAT IS NOT OVER-RELIANT ON |
| 00:28:19 | SOFTWARE.
THEY MANAGE TO SAY A GREAT DEAL
WITH THE POWER OF THOUGHT AND
IMAGERY TO GET THERE. |
| 00:28:29 | THERE IS A QUIET SENSIBILITY.
BILL PLIMPTON WHO MAKE SOME
REALLY INCREDIBLE WORK.
DAVID O'REILLY, AN IRISH |
| 00:28:43 | ANIMATOR.
>> JOANNA QUINN, AN INDEPENDENT
ANIMATOR FROM GREAT BRITAIN.
ONE OF OUR RECENT GRADUATES, |
| 00:28:59 | HERSEY'S THIS FILM -- HER THESIS
FILM, "ALWAYS, ONLY, EVER."
>> WE WILL HOPEFULLY BE ABLE TO
SEE MORE FROM HER IN THE FUTURE. |
| 00:29:16 | I THANK BOTH OF YOU.
ANDY FRIZ AND GREG BROWE.
WE WILL KEEP AN EYE OUT ON CCAD,
COLUMBUS COLLEGE OF ART & |
| 00:29:24 | DESIGN.
KEEP WRITING. |
Note : Transcripts are compiled from uncorrected captions
