A Quote by Peter Sohn
I love sight gags and broad stuff, but you can get to such a subtle degree, especially with CG animation.
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The two great things about computer CG stuff are I can now do gags I would never have dreamed of in the old day.
I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.
Just like those little Viewmaster slides, there's a inherent magic that's captured in 3D that you can't get in drawn animation or in CG.
I love comedies, both broad and subtle.
On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
You hear people say that there's too much CG in movies today, but CG is what allows me to take a green-painted wall in a studio and make it disappear, and then put 100 miles of landscape in. CG, in the right hands, can be a marvelous tool.
We became very good in developing comical sight gags when we made 'The Flintstones.'
There's little that's subtle about Hardus Viljoen - he's a broad-chested, broad-shouldered fast bowler, who simply trundles up to the wicket and hurls it down as fast as possible.
Sight gags had to be planned; they required timing and mechanics. Occasionally, spontaneity would arise in the shooting of the scenes.
In feature animation, cartoony or exaggerated animation is almost taboo. There is this precedent that if you do that kind of stuff people won't like it or it will be too zany.
This all-pervading power is the power of divine love. It thinks. It organizes. It plans. It loves. It is the one which is the subtle of the ether, you can call it. It is the subtle of the matter. It is the subtle of your emotions. It is the subtle of your mental power. It is the subtle of your evolutionary power, but all integrated and coordinated in complete synchronization.
I do not have a good control of running sight gags. I laugh like hell when I see them, but I don't know how to invent those jokes.
I do a lot of CG stuff for fun.
I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!
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