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Mai 14


Mai 2010


MAY 2010




FMX in Stuttgart, Germany, is sort of like SIGGRAPH with a warm hug and spicier sausages.  The event attracts hundreds of top-drawer animation visionaries, and attendance this time was north of 7,000. I am already looking forward to next year. Thanks to Thomas, Hegele, Constanze and the whole Filmakademie/FMX team.


It is a special treat to have a workshop in Montreal, which is home to several major game companies as well as some of the best food anywhere. Organizer Diego Rojas did a marvelous job with the White Conference. Thanks to Marshall for helping so much, and thanks to the wonderful animators who spent some time with me. Loved it.


Every time I get this close to joining Facebook, I come across another compelling reason to hold off.  This Wired Magazine article is sizzling and specific in its criticism of Facebook’s user-privacy policy. And there is this, from equally respected MacWorld.  If those opinions are not enough, the New York Times also ran a scathing article about Facebook in the May 13th edition, pointing out that the social network’s current user-privacy policy has more words in it than the U.S. constitution. If a new user wants to protect his or her privacy, it is necessary to click through 50 privacy buttons, choosing among 170 options. The mortgage agreement on my house is not that complicated. I think I’ll wait a little longer.


The Princess and the Frog was playing on the back of the seat in front of me during my recent flight to Germany, so I studied it for a few thousand miles. The same things bothered me about it this time as when I initially saw it on the ground. The 2D animation is, of course, awesome, but Disney practically wrote the book on hand-drawn excellence. No surprise there, just kudos and calls for an encore. The story and script are the problems. The plot twist that turns the princess into a frog is cute but, in the end, is a one-joke deal and will not justify a $100 million budget. The acting is often lackluster, but you can’t blame the animators because they have to play the cards they are dealt. The first fifteen minutes of the film contain zero structured („action in pursuit of objective, overcoming an obstacle„) scenes at all. Instead, it contains what amounts to some group hugs. A little bit of that goes a long way, even for 10-year old kids, whom I presume are the target audience. I hope the Disney honchos do not once again blame 2D for mediocre box office.


June 2010  Anima Estudio, Mexico City

Fall  2010   India (dates to be announced in June newsletter)

May 22nd  Chicago  – Cancelled


Animators and the Challenge of Animating Dialogue

„Acting Has Almost Nothing to do with Words.“

This is one of the top five or six, most essential acting principles, and animators understandably often have a hard time applying it. The industry practice of recording dialogue first, then making the animation fit the words certainly does suggest that the most important aspect of a story is the dialogue.

With a few conspicuous exceptions, most big-budget Hollywood animated feature films today are over-written in terms of dialogue. One exception is the first half hour of Pixar’s Wall-E, which has no dialogue at all, a situation that is so unique that it was highlighted in most reviews. That lovely montage featuring Carl and Ellie at the beginning of Up also has no dialogue. Henry Selick’s Coraline is not overly dependent upon dialogue. But, as I say, these are exceptions to industry practice.

DreamWorks‘ How to Train your Dragon is the best feature that studio has produced since Kung Fu Panda, but it would have been even stronger without so much dialogue. The lead character, Hiccup, is continually describing verbally what the audience is seeing on the screen. He talks to himself a lot, which is rather atypical human behavior. We do indeed talk to ourselves, but it is most often fragmented phrases and mumblings. When we are alone at home, we rarely walk around talking out loud to ourselves in complete sentences. The animator who must bring to life a character that talks too much has a special challenge because he rarely has the option of pointing out the kind of character trait that might result in chronic self-talk. A stage actor, for example, facing the same challenge, would come up with some aspect of anxiety in the character that might justify verbal overflow. There are some people who just will not be quiet, even if alone. I see them on the city bus occasionally. But they have psychological issues that require attention. Over-talking animated characters are presented as normal. Even though the animator may know perfectly well that acting has almost nothing to do with words, he is probably going to be penned in by the requirement that he make the picture fit the dialogue.

The kind of situation I have in mind is, for example, when a character opens a door and peers into a darkened room. More often than not, the writers will make him say, „What is this? A dark room?“  He really does not need to say that in order for the audience to know what is going on. The fact that he does say it creates a problem for the animator who is trying his best to deliver strong performance. So what does an animator do when confronted by a chatty character like Hiccup? He does the best he can, that’s what. He can’t argue with the screenwriter or director about whether or not the character ought to be talking out loud to himself so much. In the production pipeline, issues like that ought to be addressed early in script development. Once the dialogue is written and recorded, it is pretty much a done deal for the animator.

The 10-second animations that are used so frequently in animator training can also be a problem. The new animator tends to over-gesticulate her character because she wants to make a physical movement for every syllable of recorded dialogue. Her focus is on animating to the dialogue rather than trying to understand the context of the character situation. Instead of trying to figure out how the animation can match the enunciation of the character, an animator should be asking herself who the character is talking to. Why is she telling him this stuff? What is her situation? What is the negotiation in the scene? Is she trying to hide the emotion we hear in her voice?

Part of the progress made in animation over the past ten or twelve years has been a deeper understanding of the value of silence, the thing that Miyazaki calls „ma“.  As I peer into the crystal ball, I see much more development in this area. Those sequences in the Pixar movies would simply not work emotionally if dialogue was added. Movies are about moving, not about talking. Stage plays are about talking. In movies, it is always best to „show them, don’t tell them.“ Screenwriting 101.

Until next month …

Be safe!



„Actors and Animators are Shamans!“

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