TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message

Wow – we made it to our 10th anniversary!! Who would have thought it?

From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way.

It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be.

There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. In a nutshell we wanted to create one of the biggest animation festivals in the world and, well, here we are. First we did it in Melbourne (the Melbourne International Animation Festival turned 13 this year) and then we did it a few years later in London.

This all came about because Susi and I had travelled the animation festival circuit ourselves on a modest basis with the film we made in 1998-99Ashputtle or the Mother’s Ghost. Meeting other animators at these festivals and being immersed in animation with like-minded souls was an amazing experience. We couldn’t understand why Melbourne didn’t have an animation festival. 3 years later, when I returned to London I had the same thought – why didn’t London have an animation festival?

In London word of my grand plan was put out, and I talked to anyone and everyone I knew in the industry for any sort of advice. Awards For All came through with a tiny grant to pay for us to print up some programmes, the Rupert Street Cinema said they were happy to give us a trail run, and Malcolm and I sat down and invited 60 or so of the best films we had seen on the festival circuit over the previous 2 years. Surprisingly, almost none of them had screened in London before. Not surprisingly all of the filmmakers were over the moon to be offered the chance to screen their films. Generally speaking, entry forms and invitations had to be faxed. Anyone out there remember fax machines?

Our largest expense was the freight bill. Most films we screened back in 2004 were 35mm film prints. This year we are screening 95% of the films on digital compiles, every single format you can possibly think of. It’s a minefield. The freight bill may have been reduced but the headaches for Claude, our trusty technician have increased a zillion-fold. The files have all been emailed into us from every corner of the planet by the filmmakers themselves and compiled here in London. And now there are also DCP’s (digital cinema prints). In 5 years time, maybe even in 3 years time, the whole festival will be run on DCP. Or maybe there will be a newer format that we don’t even know about that hasn’t even been invented yet.

And so – 10 years have zipped by in a flash. Scary! But here’s to the next 10 and whatever they may bring. We hope you can join us for the ride. Nag Vladermersky Director, London International Animation Festival October 2013

3 New release films from £5, every Tuesday, for students barbican.org.uk Partners

Investing in Venue tomorrow, today Partners

The multi-million pound Skills Investment Fund is administered by Creative Skillset and funded by industry contributions with Government match funding to support skills, talent and business development in animation. For every pound invested by industry into the SIF will be matched by Government by up to £8m a year until 2015, making the total potential co-investment in skills through the SIF £32m over two years. Supporting In response to industry feedback and requirements, co-investment in the SIF will give animation companies access to: Partners The Challenge Fund – grants of up to £1 million a year are available to individual employers or consortia of employers to deliver creative and practical ways to boost skills and develop talent in their companies. Trainee Finder – providing the best trainee placements and giving employers access to a diverse talent pool, and match funding. Commissioned Training – created to address collective industry barriers allowing employers to procure training from approved central resources.

To fi nd out more, go to www.creativeskillset.org/sif For Trainee Finder, email traineefi [email protected] For Challenge Fund, please contact Fergal McBride on 020 7713 9858 or [email protected]

The SIF is administered by Creative Skillset and funded by industry contributions with Government match funding to support skills, talent and business development in the fi lm, TV, animation, games and VFX industries. Each industry determines how it contributes to the SIF and employers who make a contribution Supported by the Department gain access to the SIF’s talent, grants and training resources. for Culture, Media & Sport

7 Crew & Programme Credits Contents Schedule Executive Director Nag Vladermersky Director’s Message 3 Co-Director Malcolm Turner Programme Schedule 9 Programmers Nag Vladermersky & International Competition Programme 1 10 Fri 25 Oct 18:30 Gala Opening Night feat. Persistence of Vision + Q&A Malcolm Turner 21:30 10 Comedy Animations Producer Mandy Smith International Competition Programme 2 12 10:00 Animation Workshop Website Matt Smith Sat 26 Oct International Competition Programme 3 14 11:00 Amazing Animations (0-6 years) Design Mandy Smith International Competition Programme 4 16 14:00 Sacrebleu Productions Digital Compiling Claude Trollope 14:30 Flipbook Challenge Workshop Catalogue Design Matt Smith International Competition Programme 5 18 16:00 10 Sci-Fi Animations Catalogue Notes Malcolm Turner & International Competition Programme 6 20 19:00 International Competition Programme 1 Nag Vladermersky International Competition Programme 7: Long Shorts 22 19:00 Canadian Indie Showcase 1 Childrens Workshop Leader Kevin Griffiths 21:00 Ülo Pikkov Retrospective Flipbook Workshop Leader Elizabeth Hobbs Abstract Showcase 25 21:00 Canadian Indie Showcase 2 Industry Event Producers Anna Gregory & Late Night Bizarre 28 Sun 27 Oct 11:00 Marvellous Animations (7-15 years) Saint John Walker Music Video Session 30 14:00 Animated Documentaries + Q&A Festival Assistant Becky Weston 16:00 Abstract Showcase Volunteer Coordinator Anna Gregory Animated Documentaries 32 19:00 International Competition Programme 2 Event Co-ordinator (Barbican) Amazing Animations 34 19:00 International Competition Programme 1 (Repeat) 21:00 International Competition Programme 3 Tamara Anderson Marvellous Animations 36 20:30 Feature: Consuming Spirits Marketing (Barbican) Graeme Campbell Publicity Sarah Harvey British Showcase 38 Mon 28 Oct 19:00 International Competition Programme 4 19:00 International Competition Programme 2 (Repeat) Festival Trailers Katerina Lavrionova & Feature: Persistence of Vision 48 21:00 International Competition Programme 5 Bexie Bush (National Film and TV School) Feature: Tito On Ice 50 21:00 Feature: Tito on Ice Festival Judges Philip Ilson, Kim Noce & Tim O’Sullivan Feature: The Pain and The Pity 51 Tue 29 Oct 19:00 International Competition Programme 6 19:00 International Competition Programme 3 (Repeat) Printing Aquatint BSC Feature: Consuming Spirits 52 20:30 International Competition Programme 7: Long Shorts + Q&A Ülo Pikkov Retrospective 54 Special Thanks 21:00 International Competition Programme 4 (Repeat) Platige Image 3D 56 Wed 30 Oct 18:30 British Showcase 19:00 International Competition Programme 5 (Repeat) Simon Oatley at the Film and Video Sacrebleu Productions 58 21:00 National Film Board of Canada 3D Stereoscopic Films Workshop, Saint John Walker at Canadian Indie Showcase 1 62 21:00 International Competition Programme 6 (Repeat) Creative Skillset, Roger and Tai at the 19:00 Platige Image 3D + Q&A Horse Hospital, Helen Gibbins, Charles Canadian Indie Showcase 2 64 Thu 31 Oct 21:00 10 Horror Animations Rubinstein at the Rio, Sarah Chorley at NFB 3D Stereoscopic Films 65 Shooting People, Helen Nabarro & Helen Fri 1 Nov 10:00 Industry Event: Animation Breaks Out 10 Horror Animations 68 14:00 Industry Event: Bit Players: Is Coding Creative? Stevens at the NFTS, Liz Hobbs, Kristel 10 Comedy Animations 70 19:00 Feature: The Pain and The Pity Oitmaa at the Estonian Embassy, Marie 21:15 International Competition Prog. 7: Long Shorts (Repeat) Morin at the Quebec Government Office, 10 Sci-fi Animations 72 Marlena Lukasiak at the Polish Cultural Sat 2 Nov 10:00 Industry Event: Living Long & Prospering in Animation Flipbook Challenge 77 10:00 Make a Spooky Film Workshop Institute, Gareth Evans, Mark Ashworth, Animation Industry Event 78-79 12:30 Platige Image Masterclass: Creativity & Technology Kevin Schreck. 13:15 Amazing Animations (0-6 years) (Repeat) Animation Breaks Out: Tax Breaks 15:00 Marvellous Animations (7-15 years) (Repeat) Programming Thanks & the New Future of Animation 14:00 Industry Event: The Importance of Sound in Animation Bit Players: Coding for Creativity? 19:30 Music Video Session Ülo Pikkov, Danielle Viau, Munro Ferguson 21:30 Late Night Bizarre How to Become a Ten Year-Old: Living Long and Chinda Phommarinh at the NFB, Sun 3 Nov 18:00 Best of the Fest Agnieszka Piechnik and Ola Watras at & Prospering in Animation 20:00 Best of the Fest (Repeat) Platige Image, Ron Dyens at Sacrebleu. The Importance of Sound in Animation Past Guests Reminiscence... 80 Index 83 Past LIAF Winners 87

8 9 International (15) Competition Programme 1 Not About Us To This Day at Barbican Sat 26 Oct 19:00 Switzerland/Estonia, 2011, 3’37 Canada, 2013, 7’40 also at The Horse Hospital Sun 27 Oct 19:00 (Repeat) A mysterious twin at arm’s reach, a By turn hilarious and haunting, poet Shane reflection on the water, a shadow on the Koyczan puts his finger on the pulse of The opening film in our opening artists who can draw and animators who wall, an entrance to another dimension at what it’s like to be young and different. your finger tip. competitive programme is always can animate but, more importantly, we are We May Meet, We May Not Astigmatismo Director Shane Koyczan/Giant Ant Lithuania, 2011, 5’09 Spain, 2013, 4’00 a statement of intent from the LIAF witness to the true substance of animated Director Michael Frei www.shanekoyczan.com team and We May Meet, We May Not film, which is a series of ideas that can only A perspective-bending trio meet in the www.michaelear.com A boy, having lost his glasses, can only encapsulates everything that we love be imagined and realised in the first instance woods and move forwards-backwards- see one thing in focus at a time, thus he about the kind of animation LIAF is in this particular artform. sideways from there. explores a blurry world of unknown places committed to screening. Director Skirmanta Jakaite and strange characters. In Not about Us, Frei is channelling some Director Nicolai Troshinsky At heart, it’s a fairly simple premise. Raising sort of anti-Houdini spirit. Harry Houdini was www.troshinsky.com children is an experience that has few a master of distraction; his carnival modus certain outcomes. The person you nurture operandi was to make us look somewhere and ultimately send off into the world may else while he did whatever he had to do. be very different to the person you thought Magic ... of a sort. The charm of Not about – or hoped – to raise. Letting them go is Us is that Frei directs our eye right to the also not such a black and white situation. epicentre of each magical transmogrification They are not your kids one day and fully as he relentlessly but gracefully soft peddles TINAMV 1 The Triangle Affair independent adults the next. The transition us through a series of environmental Austria, 2011, 4’15 Estonia, 2012, 10’39 is hazy, faltering and the conclusion is, well, ultra-realities that are in a constant state of The cloistered interior of a pure white room A crazy-wild ballet of the strangest inconclusive. unpredictable flux. Now that’s magic. is the perfect space to unleash a sustained creatures getting a bit of after-hours fiesta of stop-motion. cleaning done, drawing lines in the sand Taking what are essentially emotional states, This programme also contains a number of Director Adnan Popovic and making a break for it on the high wire. giving them an aesthetic that we, as an films from favourite filmmakers we haven’t Director Andres Tenusaar audience, can visualise and experience, is screened in a while. Chris Landreth is one of www.nukufilm.ee the perfect use of such a fluid and expressive the most acclaimed and accomplished CG medium as animation and in We May animators of all time. His filmRyan (2004) Meet, We May Not the animation captures won everything plus the kitchen sink the these turns, changes, unclear paths, fears year it was released. And rightly so. Chris and myriad points of view beautifully and has always been way ahead of the curve profoundly. Setting this entire emotional and – in fact, the curve kind of looks to him to experiential melee in a forest taps into the see which way it should bend. Bingo blew Fear of Flying Feral incredibly important cultural significance that everybody’s minds when it was released in Ireland, 2013, 9’10 USA/Portugal, 2012, 12’41 forests have for Lithuanians. Forests feature 1998 and a decade later when we screened A small bird with a fear of flying tries to A hunter takes in a feral child he discovers heavily in their art, fairytales, literature and it again at LIAF, it looked as fresh and cutting avoid heading south for the winter. Yet in the woods and quickly realises that oral history. Until quite recent times, it was edge as ever, leaving many much newer when disaster strikes he is left with no creating a new life for him will take more relatively common practice for old people to films in its wake. choice but to face up to his fear. than clothes, kindness and a haircut. walk into the forest when they decided that it Director Conor Finnegan Director Daniel Sousa was their time to die. The good news is that Chris is back with his www.fearofflyingfilm.com www.danielsousa.com new filmSubconscious Password. Skirmanta’s film is a uniquely individual style of art; every frame could probably be hung It’s quite a ride and it’s Landreth doing the Kick-Heart Subconscious Password on the wall. More than that, it uses the two things he does best – exploring what we Japan, 2013, 12’45 Canada, 2013, 11’00 unique and special properties of animation are and animating the hell out of it. A love story between two people that each The absurd misadventures of Charles, extraordinarily well. Under somebody else’s have a secret to hide. One is a pro-wrestler, a friendly kind of guy who meets up direction, this rolling diorama could feel like a Daniel Sousa is another filmmaker who’s the other a nun. When the two meet in the with someone whose name completely rollercoaster and leave our senses with few work we have screened regularly at LIAF ring, something magical happens. Losing escapes him. never felt so good. choices but to simply buckle in and watch over the years. Feral is his first long film since Director Chris Landreth it as a spectacle. Here, it is far more of a he released Fable in 2005 and it has a subtle, Director Masaaki Yuasa www.nfb.ca/film/subconscious_password magic carpet ride, somehow drawing us into yet epic, feel to it. That ‘feel’ is Sousa’s its midst, subtly massaging our senses and stock-in-trade. His first film,Minotaur , made taking us along for the journey as engaged in 1998, hinted at this and his two most participants. recent very short films,The Windmill, 2007 and (particularly) Drift, 2009, honed both Michael Frei’s filmNot About Us arguably, his beautiful painterly style and his ability to drifts into our view floating on a less weighted create the kind of soaring vistas that Feral soul than We May Meet, We May Not but effortlessly immerses us in. in both we see not just the relative form of 10 11 International (15) Competition Programme 2 Solipsist Wind Fallin’ Floyd Gloria Victoria at Barbican Sun 27 Oct 19:00 USA, 2012, 10’10 Germany, 2012, 3’05 Holland, 2012, 8’50 Canada, 2013, 6’55 also at The Horse Hospital Mon 28 Oct 19:00 (Repeat) A rupture of entanglements swarm and Wind can be a nutty friend, a challenging Floyd, after being dumped by his girlfriend, From the Russian front to the Chinese squirm into a herd of divine spectacle. protector or a wily, invisible predator. But suffers from psychological problems Revolution, and Dresden to Guernica, great Director Andrew Huang how is it generated? manifested as a little demon who disrupts black birds fly over graves while vampires his everyday life. and reapers keep moving. www.autourdeminuit.com Director Robert Loebel www.robertloebel.com Directors Paco Vink & Albert ‘t Hooft Director Theodore Ushev www.illuster.nl www.nfb.ca

Andrew Huang burst onto the Isabel Peppard has created a animation scene in 2007 with a film predominately bleak but beautifully called Doll Face that pretty much ornate handcrafted world. Her silicon cleaned up every award in every puppets are incredibly hyper-real and festival it entered. Huang’s creative wonderfully fleshy, so much so that in the output has been less about individual first moments of the film you think you are films and more about exhibitions watching CGI. They command a screen of digitally moving-image artwork, presence all of their own. Butterflies has which have shown in venues such been described by one of the world’s top as MOCA Taipei, the Pompidou horror and fantasy film festivals – Sitges Centre, Paris and the ZKM Media International Film Festival in Spain – as Widow Caillou Toto Crazy For It Butterflies Museum in Germany. Björk recently “a short destined to become an instant France, 2011, 8’00 Poland, 2013, 12’10 Japan, 2012, 3’37 Australia, 2012, 12’00 commissioned him to work on a stop motion classic”. Butterflies has also About as good as this style of animation An exuberant feast for the eyes. Painted A crazed blizzard of imagery supercharging A young artist sits on the pavement, music video for her, and amidst qualified for Oscar nomination since taking gets! A film of astounding – and yet richly animation of a richness, complexity and a variety of moving bodies ahead of its struggling to make a living selling her all of that he has found time to out the Jury Prize for Best Animated Short understated – atmospheric beauty. rawness that saturates the viewer and crest. drawings to passers-by. A businessman create Solipsist, the film that opens at the Cinequest International Film Festival Director Agnes Patron draws them into its world. Director Yutaro Kubo offers her a paying job. The prospect this programme. Years ago I was (an A-List Academy Accredited festival) in seems inviting but the reality threatens to www.cargocollective.com/agnespatron Director Zbigniew Czapla www.yutarokubo.com unexpectedly treated to an impromptu San Jose. This film was destined for fame kill her imagination. masterclass by Los Angeles resident right from the beginning when none other Director Isabel Peppard Mike Goesdecke, who revealed to than Tim Burton ‘blessed’ a small proto- www.butterfliesanimation.com me the fascinating intricacies of type of the butterfly creature in Melbourne animating vast quantities of dust at the opening of his exhibition in 2010. and grains of sand. Solipsist turbo- charges everything I learned that day There are also several films in this and was one of the easiest films to screening, as in international programme programme this year – an instant, 1, made by filmmakers who have “yes please”. screened regularly at LIAF over the years. The names of Theodore Ushev, Zbigniew Butterflies is a gothic stop-motion film by Czapla, Phil Mulloy, Edmunds Jansons, Isabel Peppard in response to a stagnant Paco Vink and Albert t’ Hooft should be time in her creative life when she didn’t familiar to past LIAF attendees. It’s great have time or the energy to produce her to see how these filmmakers careers Chopper The Banker International Father’s Day Kaspar own work. The main character in the film, are progressing and how, through great Holland, 2012, 2’15 UK, 2012, 3’00 Latvia, 2012, 5’00 Canada, 2012, 8’25 Claire (voiced by acclaimed Australian adversity, they continue to make their The circle of life. A mantis gets eaten by Will Mr Christie allow Terry to join the For most people Fathers Day is a Kaspar is a young man who discovers actress Rachel Griffiths), is a young artist work. More power to them. a frog. The frog is swallowed by a stork, Mayan End of World Society? celebration, but for one small bird – an life – and light – after spending his entire who struggles to make a living by selling while the stork is eaten by a crocodile, Director Phil Mulloy ordinary working day where he has to feed existence in a dark cave with a small her drawings on the footpath to passers- before the crocodile gets shot by a hunter. his family. wooden horse as his only company. www.philmulloy.com by. She has a muse – a butterfly creature – Directors Lars Damoiseaux & Frederik Director Edmunds Jansons Director Diane Obomsawin which is the embodiment of her extended Palmaers www.atomart.lv/?section=films www.nfb.ca mind. Eventually, a businessman offers www.palmaers.com her a paying job in a card factory. At first, it is an enticing prospect but in reality it threatens to kill off her imagination. This is a film that will have every fellow artist in the audience assessing their own situation: do they still have an air-borne butterfly or is it the sun-bleached skeletal remains of one?

12 13 (15) Old Man International USA, 2012, 5’45 Animated to snippets of phone Competition Programme conversations with helter-skelter serial killer 3 Tram Coffee / Koffie Charles Manson, this reaffirms his ‘down to Moirai the bone’ madness. at Barbican Sun 27 Oct 21:00 France, 2012, 7’00 Holland, 2012, 5’40 Germany, 2012, 9’50 Director Leah Shore also at The Horse Hospital Tues 29 Oct 19:00 (Repeat) A voluptuously sultry tram ride resplendent How hard can it be to simply order a Moirai are the Goddesses of Fate in Greek in all its wondrously esoteric wobbliness. coffee? Just give him a coffee and nobody www.leahshore.com mythology. They spin the strings of life and Director Michaela Pavlatova gets hurt. allot them to the living. www.sacrebleuprod.com Director Sjaak Rood Directors Kerstin Unger & Jasper Diekamp www.sjaakrood.nl

Tram is unstoppable! Michaela medication. He’s nuts, plain and simple. Pavlatova has created some pretty Shore’s film makes all that extremely clear. popular gems during her career, Manson condemns himself to permanent including Words, Words, Words, which incarceration by his own words – it’s was nominated for an Academy REALLY obvious he’ll never be fit for Award in 1993 and her 2006 film,The release. But the depth of the antipathy The Deep Carnival Of Animals, which she made directed at Shore’s film, and occasionally USA, 2012, 1’35 with husband Vratislav Hlavaty. But at Shore herself, is as interesting as it is Metal objects of the past come to life in the popular reaction to her latest film, diversely expressed. Shore got a fairly The Box-Poltergeist depths of the sea. Tram, looks like it will surpass both rough time at a filmmakers’ function at Italy, 2012, 3’00 Director PES of these. I know somebody who saw the Ottawa festival the morning after her The Box and Dox spend their entire lives Assembly it screen in Kenya, a little off the well- screening there and other festival directors sitting on the couch in front of the TV. Both www.eatpes.com Canada, 2012, 4’25 trodden festival trail, and reported that have rejected the film with the comment are afflicted with a very powerful addiction A woman’s hands reach in and out of it was a clear and uncontested crowd that they weren’t interested in providing to television. frame, cutting and editing a reel of film favourite that night. Pavlatova has a Manson with any more publicity. It’s an Director Dadomani Studio on a flatbed editing table. Fragments of special knack for creating apparently interesting nerve that it strikes. I hadn’t The Bungled Child / La animated archival footage flash across the www.dadomani.com outrageous imagery and hiding it in really absorbed that element of the film to Ravaudeuse screen – until a message is revealed. plain view, charming audiences rather be honest. I just thought it was really good France, 2012, 9’15 Director Jenn Strom than shocking or offending them. animation. There’s nothing easy about mending a www.nfb.ca Humour helps grease the tracks for bungled child. Droplets this particular train but it still needs a Every year, I forget to point out what a Director Simon Filliot special, undefinable magic to pull it fantastic contribution the Netherlands Germany, 2011, 2’45 off in the effortless way she seems to Institute for Animated Film (NIAF) makes to www.simonfilliot.com Oppression, disorientation and fear can be be able to. the world of auteur animation. For twenty paralyzing, but are often a very important years, NIAF has provided a platform to element on the way to the perfect idea. One of the more interesting phenomena support Dutch animation, encouraging Director Simon Fiedler that I’ve encountered lately is the depth and assisting people to get their films www.simonfiedler.de of the reaction to Leah Shore’s latest film, made, setting up artist-in-residence Guilt / Kalte Old Man. Somehow she managed to programs and doing an outstanding job Lithuania, 2013, 5’20 get hold of a long-form tape-recording of distributing Dutch films to festivals like A lonely fox isolates itself from the world of a conversation held over a prison LIAF. A disproportionate number of the to enjoy the pleasures of being tormented Paula phone between Charles Manson and a films we’ve received from them are fairly by guilt. She is forced to choose between Canada, 2011, 10’29 researcher. Manson, for those younger challenging, fully abstract animations madness and reconciliation. A disturbing portrait of a mixed-use, than a certain age, is the fully-leaded (including Big Signal by Evelien Lohbeck Director Reda Bartkute working-class neighbourhood in which head-case who fronted a band of that made it into our Abstract Showcase Agnieszka social interactions leave unpredictable delusional disciples that roamed around this year). But Coffee by Sjaak Rood www.animalsindresses.com ripples in its motley fabric. France / Poland, 2011, 10’10 the fringes of Los Angeles in the 1960s is a pretty good example of the kind of Director Dominic-Etienne Simard and brutally slayed a number of people in innovative and interesting work that they Following some harmless children’s game, the pursuit of who knows what. Fuelled distribute and the kind of talent that their Agnieszka experiences a family breakup www.nfb.ca by acid-fried brains and empowered by presence has encouraged to grow and which causes her to withdraw into herself. La Chute a misreading of The Beatles’ song Helter develop. And yet, despite all of this, NIAF Director Izabela Bartosik-Burkhardt France, 2012, 4’40 Skelter, Manson’s body count wasn’t as may be no more. At the beginning of this www.filmsdelarlequin.com Lola, a teenager, learns to love life by high as many who came after him but, as year, a series of sinking lid budget cuts discovering fear and death. one of the earlier breed of psychopathic forced them to suspend all operations. Director Gwenola Carrere spree killers, he will remain the founding This seems – to say the very least – an poster boy of that select club. It doesn’t enormous pity. In the grand scheme of www.autourdeminuit.com look like Charlie is getting out any day all things budgetary, keeping NIAF alive soon. And judging by the tapes Shore is surely a drop in the proverbial ocean. uses as the basis for her film, it doesn’t Fingers crossed for a resolution on this even sound like the prison authorities one. have been making him take all his 14 15 International (15) Competition Programme 4 Invocation Cleo’s Boogie Belgium, 2012, 6’18 The Hours of Tree Double Fikret at Barbican Mon 28 Oct 19:00 UK, 2013, 3’00 Sure, it’s all a bit seedy backstage but France/South Korea, 2012, 8’20 China, 2012, 3’30 also at The Horse Hospital Tue 29 Oct 21:00 (Repeat) A grotesquely surreal deconstruction of the come showtime Cleo and Her Orchestra A delightful, slow-paced collection of Non-narrative, surreal associations and guts of stop-motion animation. cut loose the coolest roomful of tunes this stories inspired by the observation of the transformations around two Eastern men. side of the baby grand. Director Robert Morgan life-cycle of trees. Director Haiyang Wang Director Collective Camera Etc www.robertmorganfilms.com Director Dahee Jeong The number of funded and the Royal College of the Arts – Left. Eamonn www.camera-etc.be professionally managed organisations says “Like many animators I liked to draw that employ animators to turn out when I was young. Mostly I would watch personal and creative animated short Sesame Street or Postman Pat and draw films has dwindled over the years. the characters in the show. When I was a The British Post Office employed the little older my best friend Billy and I would talk likes of Len Lye to make experimental about becoming animators but I don’t think animation – Thatcher would have we really understood what it meant – we choked on her pearls – and NASA’s Jet just knew they drew cartoons. I veered away Propulsion Lab has a digital animation from that idea in school – I kept drawing but department that, in earlier times, thought maybe I would be an engineer or mostly busied itself letting the crème an architect; it seemed a bit more realistic. of America’s experimental filmmakers I changed my mind before finishing school Left Futon Japan, 2012, 6’00 Sunny Afternoon Little Plastic Figure play with its computers to see what they and haven’t looked back. I suppose initially UK, 2012, 11’30 A woman wrapped in a futon begins Austria, 2012, 6’20 Germany, 2012, 3’10 could come up with. Somewhere in the I was attracted to the idea of drawing for When I was 12 my best friend at school to dream and think about the future. A self-portrait and a kind of music-video Sometimes we need a little help from our middle of these is a type of organisation a job. Filmmaking and storytelling came was Neill. We cycled our bikes and fished Everything melts pleasantly together. based on a song composed 25 years ago. inanimate friends. A plucky stop-motion that is neither commercial in its output afterwards but soon took over.” off the jetty. We got older, drifted apart. Director Yoriko Mizushiri Director Thomas Renoldner musical irreverent tribute to an unassuming nor managed/funded to the extent that it Neill changed and so did I. doll figure who stays vigilant while her www.c-a-r-t-e-blanche.com www.thomasrenoldner.at can employ people to make their films. Left has been on the festival circuit for the Director Eamonn O’Neill sleepwalking companion causes havoc in their apartment. Instead these types of organisations past year and grabbing accolades and www.eamonnoneill.ie devote their energy to building the best awards along the way. It’s no surprise when Director Samo-Sama possible environment to support auteur Eamonn cites the following live-action www.tiger-unterwegs.de animators. filmmakers as inspiration for his work – Michael Haneke, the Coen Brothers, Lynne Our Canadian Indie Showcase this year, Ramsay and Andrea Arnold. Left has real for example, would not have been possible heart and sentiment, deals with quite intricate without the assistance of the Toronto emotional themes but in a subtle way, Animated Image Society (TAIS) or the without forcing them on the viewer. Quick- draw Animation Society (QAS). Belgium’s Camera-Etc is another such Finally, what LIAF would be complete Marcel, King Of Tervuren Ballast example. Established around 1980 in Liege, without a Robert Morgan film? We probably USA, 2012, 6’00 Germany, 2012, 5’00 screened Robert’s last magnum opus Bobby it is a magnet for accomplished, aspiring The owners of Marcel, a much-loved rooster Sorrow is not part of my mind – but part of and untrained animators alike, all of whom Yeah more than any other festival. We just roaming his domain in Brussels, strike a my head. have one thing in common – they have couldn’t help ourselves. And now here Morning Train / Fruhzug My Little Underground / problem when a bird flu warning is issued. Director Jost Althoff a film to make. Viewing this years entries comes Robert’s latest little epic – Invocation Switzerland, 2012, 5’16 Suivra le Jour Director Tom Schroeder from Camera-Etc has been a very enriching – made for the excellent Random Acts The rhythm of the train on the journey Canada, 2012, 6’43 experience and Cleo’s Boogie is a joyous strand on Channel 4 television. Whereas home from a romantic entanglement A haunting, compassionate exploration inclusion in LIAF this year. It’s absolutely Bobby was 26 minutes long, Invocation transports a woman into a parallel and of addiction and existence. An almost fascinating in the way that it transitions from lasts just 3 minutes – enough time though confusing space. absurdly beautiful autobiographical a fairly solid but simple narrative-driven to see a man shooting a stop-motion film Director Delia Hess depiction of a young girl’s journey between puppet animation through to a fast paced, starring a toy bear, an accidental cut finger, real and imagined events. purely abstract film. Along the journey, it blood dripping into his camera and…hang Director Elise Simard Boles Slovenia/Germany, 2013, 12’00 utilises almost every animating technique on a mo’, how autobiographical is this film? www.nfb.ca in the book but somehow it all fits in to Once again, a big mention to the mighty Filip lives in a poor neighbourhood create a spellbinding six minutes, reflecting, Mark Ashworth for the astounding sound dreaming of becoming a famous writer presumably, the various styles of the fairly design on this film. Mark’s work can also be and having a luxurious lifestyle in a more large roster of animators involved. seen in Louis Hudson’s Don’t Fear Death prosperous part of town. One day there’s a (screening in the British Showcase) as well as knock on his door. Eamonn O’Neill – make a note of the name. The Cat With Hands (screening in 10 Horror Director Spela Cadez I reckon you’ll be hearing a lot more from Animations). And as we are fully paid-up www.spelacadez.com this young man in the next few years. We members of the Mark Ashworth appreciation screened his anarchic first year student film, society, we also need to mention that Mark I’m Fine Thanks, at last years LIAF. And now is chairing this years sound panel at the LIAF here comes his graduate film, also made at Industry Event. Go Mark! 16 17 International (15) Competition Programme 5 Tunnel Noodle Fish at Barbican Mon 28 Oct 21:00 Iran, 2012, 7’00 South Korea, 2012, 9’45 also at The Horse Hospital Wed 30 Oct 19:00 (Repeat) Here, sand animation is used to superb A naïve little fish begins his journey to the effect to depict that most elusive of world outside of the sea, as he thinks it’s filmmaking elements – light itself, capturing the only way to grow up. An incredibly Rising Hope all the claustrophobic foreboding of a pain-staking pin-screen animation made Ab Ovo Germany, 2012, 9’15 journey through the Gaza tunnels. with plain noodles. Poland, 2013, 5’15 If you are paying extra special different world. Filmmakers each have Rising Hope, once the fastest horse in the Director Maryam Kashkoolinia Director Jin Man Kim Imagine that someone starts to live inside attention, you will notice that their own studio space to work in, there world, suddenly turns into a loser. With the www.kiafa.org of you and starts to take up more and more there is at least one National Film is a stunning sound lab, technical support help of a new friend – a jack-of-all-trades space until he almost makes you explode. Board of Canada (NFB) film in departments for every imaginable genre, hound – he finds hope and himself again. Would you be able to love him? every International Competition a fantastic library (and it’s QUIET, the way Director Milen Vitanov Director Anita Kwiatkowska-Naqvi programme. The NFB is such a libraries used to be), producers and a precious institution and the service it few people whose roles I’ve never quite www.rising-hope.com has provided Canada in documenting defined. its history, telling its stories, and crafting its very creative and cultural That annual visit to the NFB often soul is beyond any monetary value defines the texture of LIAF’s competition that can be ascribed. Canada is programmes. Hanging out with producers probably always going to struggle to like Marcy Page, Marc Bertrand and create effects-laden blockbusters for Michael Fukushima is beyond invaluable. One Moment Please Norman the launch-queues-are-cool brigade Doing the rounds of the studio spaces Holland, 2012, 5’40 Belgium, 2013, 10’00 or story-lite megastar vehicles that is a ‘real-as-you-get’ insight into films in A man phones a company to cancel his Norman looks at things too much and is smell the same as the popcorn they progress and films nearing completion. contract and doodles as he becomes obsessed by small details and strange help to sell, but they don’t really Sitting down with Danielle Vau in the increasingly frustrated. habits. He nervously wanders the city have to – somebody else in their distribution office (and her no-nonsense Director Maarten Koopman alone because you have to watch out for neighbourhood has that gig covered. predecessor Madeleine Belisle) is a unique strange people. opportunity to wrap up in a day what Director Robbe Vervaeke In 5,000 years time, when the visiting would otherwise take months. aliens dig a random film archive out of www.robbevervaeke.com the smouldering (or frozen) wreckage And, well, it’s been a pretty astounding we have left behind, hopefully they’ll find year for the NFB. In this programme themselves teleporting into the NFB vault you’ll get to see Martine Chartrand’s rather than thumbing through the DVDs MacPherson - a beautifully fluid paint-on- MacPherson at a deserted Blockbusters where there glass film that I’ve been watching her paint Re-collection Canada, 2012, 10’53 won’t be much we can be very proud for three or four years now. Australia, 2012, 3’25 Painstakingly and fluidly painted frame by of – the exception, of course, being frame in oil on glass, this film recounts a box-sets of The Simpsons (although Iranian animation seemed incredibly strong A celebrated entomologist is haunted by friendship steeped in a love of jazz that post-contemporary critics will have been when we started LIAF ten years ago but his insect-collecting past. Collecting may leads to the creation of great music. have it’s downside! divided about the quality of the show after for whatever reason it hasn’t made it Director Martine Chartrand about the 64th season). through the jury process much in recent Director Nicholas Kallincos www.nfb.ca years. A lot of it seems to be responding www.picnick.com.au Ummm ... oh, the NFB. Watch their films. to a pressing need to create content Somehow the NFB gets it right just about for younger-skewing TV stations, which all of the time. Usually, the more people generally doesn’t play well in a cinema. who get their hands on a film before it is Last year, almost every Iranian film entered made, the sillier and lamer it gets. And like was well over 15 minutes long and that His War / Son indochine Tempest in a Bedroom France, 2012, 10’15 France, 2011, 11’00 a coffee machine, the longer it takes to doesn’t help either. With a couple of make the final product – the more filters spectacular exceptions, Iranian animation With his family gathered to celebrate his Suzan and Dwayne Cleveland have it has to go through and the more water seems to me to be at its best when it birthday, patriarch Emile finds his mind everything to be happy about. Everything that’s put in from up top – the weaker, is hand-made and dealing with more drifting toward memories of his time as a except an exciting sex life. So they decide sourer and colder the brew that drips universal themes. Films don’t get much soldier during the Indochina war, a time his to take a journey to spice up their desire. family would rather he forget. out the bottom is. But somehow the more hand-made than the sand-animated Directors Laurence Arcadias & Juliette NFB turns this tried and true assumption Tunnel by Iranian animator and poster Director Bruno Collet Marchand upside down. artist Maryam Kashkoolinia. In its own way, www.vivement-lundi.com in the end, it is unflinchingly political but the I visit the NFB in Montreal every year – journey of the film encapsulates a range religiously. The building itself is a bit of a of conflicting scenarios and emotions that bunker on the edge of the highway. But are perfectly matched by her perception- sign in, walk through the door and it’s a altering grasp of the technique.

1818 1919 Spellbreaker In the Air is Christopher Sonata Holland, 2013, 3’55 Gray France, 2012, 11’00 A beetle, crawling through the sand, UK, 2013, 9’45 In an imaginary musical world, a young gets trapped underneath a bucket with Christopher Gray has been in love with woman seeks escape, loses herself and which two kids are amicably building a Stacey for quite some time, and no tests her own limits. Gradually she must Choir Tour sandcastle. The children transform into amount of lemonade can cool his desire. open up in order to reinvent herself. Latvia, 2012, 5’15 monsters and a violent struggle erupts. Meanwhile, Barry Flint has just bought his Director Nadia Micault son a five-foot python from the pet store. A world-famous boys’ choir goes on tour. Directors Diana van Houten & www.autourdeminuit.com In the hands of their conductor they are Janis Joy Epping Director Felix Massie obedient but when he gets trapped in an www.dianavanhouten.nl www.felixmassie.co.uk elevator they become playful children. Director Edmunds Jansons www.atomart.lv International (15) Competition Programme 6 Junk Plug and Play Musical Chairs at Barbican Tue 29 Oct 19:00 UK, 2011, 6’30 Switzerland, 2011, 6’00 China, 2012, 3’50 also at The Horse Hospital Wed 30 Oct 21:00 (Repeat) A tale of an obsession with junk food that Anthropoid creatures with plugs in place The familiar game of musical chairs – but may prove hard to swallow. of heads are up to mischief. Instead of you’ve never seen it depicted this way. Director Kirk Hendry abandoning oneself to the dictates of Directors Yukai Du & Ya Tang the raised finger, they soon submit to www.kirkhendry.com There are lots of monsters in this themselves. But the fingers also finger screening - and a lot of weirdness. around. Is it love? Programming is a science and you Director Michael Frei never really know you’ve got it right www.michaelear.com until you see it all up there on the big screen. We aim to put something for everyone within each programme so there should be happy films, funny films, sad films, message films and as The Hungry Corpse many different techniques and styles UK, 2012, 9’50 that we can throw into the mix. In Set in London’s bustling, desolate Trafalgar short we want our audience to share Square and featuring a rather hungry with us the enormous diversity of corpse and a pigeon. Voiced by Bill Nighy animation. and Stephen Mangan. Director Gergely Wootsch Our mantra is “you are only limited by Rabbitland Along The Way / Chemin Palmipedarium www.beakus.com your imagination” and it has to be said Serbia, 2013, 7’20 Faisant France, 2012, 10’15 that some of the wildest films screening The rabbits who live in Rabbitland have Switzerland, 2012, 3’30 Simon knows quite a lot about ducks. They at LIAF 2013 seem to have ended up in holes instead of brains, and they are Through paintings that interact on the make a noise, fly, swim and some even roll. this programme. So here you’ll see films happy regardless of what happens. They principle of Russian dolls, we are drawn Sometimes it’s a bit confusing and Simon about anthropoid creatures with plugs for vote free and democratic elections once along the swirling path of the thoughts of a gets lost. heads, lots of pink, political rabbits, violent a day, because Rabbitland is an ordered pilgrim, a solitary walker. Director Jeremy Clapin democracy. children building sandcastles, a tale of Director Georges Schwizgebel www.papy3d.com/html/en/films/ Directors Ana Nedeljkovic & Nikola companionship between a pigeon and an www.studio-gds.ch palmipedarium ancient, hungry corpse, a five-foot python, Majdak jnr. a very mischievous boys choir, a nasty www.ananedeljkovic.com game of musical chairs and … ducks. Sit back and enjoy.

20 21 Junkyard The Mystery of the Malakka Ziegenort Holland, 2012, 17’50 Mountain Poland, 2013, 19’00 One of the most acclaimed, awarded and Poland, 2012, 20’45 Fish Boy is a teenager facing the gripping films of the year. Stabbed in the Six-year-old Junior is an extremely challenges of growing up. Half boy, International street, a man uses his dying moments emotionally mature child. In a cloud of half fish, his drama is set against the (15) to summon up memories of a childhood cigarette smoke he ponders life, people background of a seemingly idyllic fishing Competition Programme: best friend, who had drifted into the murky and their problems. When his father, a village, where his father wants to teach world of drugs and crime. famous pilot, crashes somewhere in him how to become a fisherman. A near- Director Hisko Hulsing China in mysterious circumstances, Junior perfect use of the powerfully creative decides to set off on a journey to find out possibilities of a black and white visual Long Shorts www.illuster.nl exactly what happened. A mesmerising palette. 7 story about growing up and searching for Director Tomasz Popakul at Barbican Tue 29 Oct 20:30 the truth. also at The Horse Hospital Fri 1 Nov 21:15 (Repeat) www.nolabel.com.pl Director Jakub Wronski

Some films just need extra time to test the commitment and attention span develop their themes, grow and draw of short-film fans.Junkyard has come to us more comprehensively into their LIAF quite late in its festival cycle but is still worlds. This competition programme relatively unseen in the UK. is dedicated to showcasing the best of these longer films. Hollow Land has a real ring of truth about it. Much like the characters in the Dutch animator Hisko Hulsing has one film, husband and wife team Michelle of the more committed fan bases of and Uri Kranot are very well-travelled. any animator I know. An accomplished Originally from Israel, they have been and prolific artist, graphic designer and living away from their ‘homeland’ for storyboard artist, he has also made many years, making films and projects three animated films to date and each in different countries, searching for of them has something close to a cult their “utopia” in animation. They have following. His first film,Harry Rents A worked together for more than a Room, was the short that played before decade, creating films that have been Miniyamba Hollow Land Angels and Ghosts David Cronenberg’s eXistenZ in Dutch co-produced by studios in Israel, France, France/Denmark, 2012, 14’30 France/Denmark/Canada, 2013, 14’00 UK, 2013, 15’00 cinemas and before Terry Gilliam’s Fear the Netherlands and Denmark. They Abdu, a Malian blues singer, who dreams A story about the eternalt human search for Based on a true story narrated by Oscar And Loathing In Las Vegas in Czech are currently both teaching animation of a better life in Europe, sets out on a home with the dream of Utopia. Solomon Nominee, Samantha Morton, Amber is a cinemas. Not bad for a first try. His second at The Animation Workshop in Viborg, perilous journey across Africa. A trip to the and Berta are two seekers who arrive in a young girl on a quest to find her brothers film,Seventeen , locked that fan base in. Denmark. The Kranots have worked with Niger River to the barbed wire of the Ceuta, land that promises respite from their many who have disappeared. A gripping People still talk about it. I know filmmakers various animation techniques—from 2-D where dreams are confronted with the journeys, their treasure bathtub improbably adventure exploring the potent themes of who can pull it apart shot by shot. And computer animation to paper cut-outs harsh reality, the distant lights of the West. in tow. From the first optimistic moments mental health and family bonds. now along comes his third film in nearly and pixilation—and have won numerous Director Luc Perez after their arrival, to the final haunting Director Sara Kenney scene at sea, Hollowland captures the fifteen years –Junkyard . The first time I awards for their films. We’ve screened www.lupefilms.com www.angelsandghosts.co.uk saw it was at the Ottawa festival last year all of their 3 previous films –The Heart state of being displaced – whether by circumstance or by choice. and it just about had the crowd on its feet. of Amos Klein (2008), a look back at It went on to win best of the festival there Israeli history through the life of one man, Directors Michelle & Uri Kranot – and has since gone on to win awards God On Our Side (2005) a film about www.tindrumanimation.com across the festival circuit, including several the Palestinian-Israeli conflict inspired by other best of the festival awards, all the Picasso’s Guernica and the animated more interesting because it’s a fairly long documentary White Tape (2010). film and longer animated films tend to 22 23 Abstract Showcase(15) at Barbican Sun 27 October 16:00

What are they spiking Max Hattler’s Filmmakers have also enlarged the foreground components. The genius of drinks with? Whether it’s prestigious technique to include re-using old, found, this film is not just the revolving uses of artist-in-residence gigs in Denmark, film footage, scratching images into, or the technique but the way in which those delivering masterclasses at Swiss painting images directly on top of film that transitions are managed so as to be universities and festivals, doing live already contains something on it. Typically, virtually indistinguishable from one another VJ sets at digital media festivals in the found footage is fairly non-distinct, even as they play out before our eyes. Germany or creating high-profile often even banal – home movie footage, animated light shows on canals in industrial training films, old news footage Estonian Ulo Pikkov takes this one step London, (see the film version of it – and the like. Broken Time by Johannes further. The End is, perhaps ‘the end’ of X - here in this programme), Max is Gierlinger is probably the single most traditional direct-to-film animation; perhaps the embodiment of the pan-European intense and sustained example of this it is an attempt to draw our eye to the digital media artist. Throw in a spot of genre I can ever recall seeing. There isn’t beauty of the unseen, unloved pieces biennale curation in Brazil, launching a lazy frame in it; every moment is a rich that form ‘the end’ of a roll of film – hell, commissioned pieces at festivals in tapestry of painstakingly hand-scratched maybe mixing up the heads (the beginning Mexico, and delivering programmes artwork imposed on top of existing live- of a film reel) with the tails (the end of a of experimental animation in Portland, action footage with a near flawless sense film reel) is an attempt to somehow have and you get a picture of a man who of balance and juxtapositioning. The rise us rethink what an end actually is. This must not spend much time at home. X and rise of digital filmmaking and copying subject is all the more vexing when run is not the only film of his screening in technologies has fuelled a developmental through the prism of a discussion on the programme – we are also proud to or hybridising process of the technique. distinctly non-narrative film in which an present his Animate Projects/Random With it, the aesthetic of a direct-to- end of any kind is fraught with endless Acts film for Channel 4 –Shift . film work can be created and readily subjective complexities well beyond “they blended with entirely different images or lived happily ever after”. Five films in this programme form manipulated to create an altered version something of a ‘technique focus’. Each of itself. Heavy Eyes/Schwere Augen by Siegfried of them in their own way explores the Fruhauf tips its hat to the genre in its EXPLORE YORK different ways of directly using physical To one extent or another, the remaining opening sequences, gives it a friendly filmstock. three films each travel down this path. wave as it crosses the street and then, Dutch filmmaker Oerd Van Cuijlenborg more or less, leaves it behind giving it ‘Cameraless’, ‘scratch’ or ‘direct-to- has been making these exact sorts of only passing glances over the shoulder EXPERIENCE FILM film’ animation is almost as old as film films for the best part of 15 years. This as it skips down the footpath. And yet, as itself. Early pioneers of the technique, manipulation of a direct-to-film aesthetic is much as this film could have been neither such as Len Lye and Norman McLaren, most evident and obvious in his last film, conceived nor made without the existence 15 Venues. 300 Films. 4 Days. would either use small abrasive tools to An Abstract Day (2010), but in his new of computers, neither could it have ‘scratch’ an image directly on to the strip film,A Direct Film Farewell, it is applied in a been made without the fertile backlog of film or apply paints, acids and other more subtle yet complex manner. In some of imagery and deceptively simple visual 7 - 10 November 2013 | www.asff.co.uk colourings directly on to the stock. Steven instances, the technique is the main game concepts that the earliest form of this Woloshen is one of the living masters of up on the screen, in other moments, it is technique bestowed upon us. If The End the technique and his new filmWhen The integrated with more traditionally animated isn’t the end then Schwere Augen is only Sun Turns Into Juice (based on his young elements that are transposed directly on a beginning. daughter’s description of a sunset) is an top of it, and, in yet other moments, it is outstanding example of the purest form of frozen as a still-framed backdrop, playing the technique. wallpaper to the variously animated

25 I Already Know What I Hear / Virtuoso Virtual Boy X Pinball / Fliper When The Sun Turns Into Ja Vec Znam Sto Cujem Germany, 2013, 7’20 USA, 2012, 1’45 UK, 2012, 6’00 Croatia, 2012, 7’30 Juice Croatia, 2012, 5’00 Hand-crafted ink drawings inspired by the Three letters in search of a boy. A simple A canal commission for the Vauxhall A dynamic pinball game, where the Canada, 2011, 1’44 Communication is a gap that I can sense opera ‘The Alchymist’ by the early German enough proposition. Ampera Season to create a water trajectory of the ball is undetermined. Inspired by Woloshen’s four-year-old between the things I’m unable to say. romantic composer Louis Spohr. Director Steven Subotnick projection on Regents Canal, London. Director Darko Vidackovic daughter’s metaphor for a sunset and But this gap is not an empty divide; it is a Director Thomas Stellmach Director Max Hattler originally created as an art gallery space that fills itself. www.stevensubotnick.com www.bonobostudio.hr installation housing a 200-foot-long acrylic www.stellmach.com www.maxhattler.com Director Darko Masnec filmstrip painting, this is the perfect way to close the programme. www.zagrebfilm.hr Director Steven Woloshen www.scratchatopia.tumblr.com/

Shift Limitations Roundabout Broken Time Snail Trail UK, 2012, 3’00 USA, 2012, 2’40 USA, 2010, 7’38 Austria, 2011, 1’00 Germany, 2012, 3’00 Using the New Age idea of a ‘dimensional A wonderful visual enigma extrapolated An inquiry into landscape, memory, Using highly modified strips of live-action A snail invents the wheel and goes through shift’ as inspiration, Shift combines science from a 15 foot film loop of animated movement and flow that employs gesture, film, random glimpses of the everyday get a cultural evolution to finally get back to its fiction themes through abstract, stop- scratch film, shot not frame-by-frame but layering, randomness, pattern and colour a second chance to speak to us and exist origin. motion animation of objects and colour. created incrementally, one millimetre at a to evoke a fragmented sense of place. cinematographically, the way they were Director Philipp Artus time. originally created to be. Director Max Hattler Director Peter Byrne www.philippartus.com www.maxhattler.com Director Jeanette Bonds www.roundabout.byrnestudio.net Director Johannes Gierlinger www.calarts.edu www.johannesgierlinger.com

Split Ends Big Signal A Direct Film Farewell Heavy Eyes / Schwere The End USA, 2012, 3’35 Holland, 2012, 1’50 Holland, 2012, 5’39 Augen Estonia, 2013, 5’42 Inspired by French and English wallpapers When many undesired signals accumulate, Working directly on filmstock, Van Austria, 2011, 10’00 It is said a dying man sees his life racing from the 1900’s and North American the wanted signal is suppressed and Cuijlenborg has created an abstract, A film of abstraction and Neo- before his eyes. What does a 100-year-old wrapping papers from the 1960’s, a overtaken by the unwanted noise. light-footed universe in which colour, form Expressionism. Ghostly and mask-like film strip see before it gives way to the delicate series of colourful patterns. Director Evelien Lohbeck and movement become primary visual faces appear and immediately disappear digital realm? Broken frames, scratched Director Joanna Priestley elements again. again in the digital fog, eerily duplicated, filmstock or something else? www.evelienlohbeck.com electronically cloned. www.primopix.com Director Oerd Van Cuijlenborg Director Ülo Pikkov www.illuster.nl Director Siegfried Fruhauf www.nukufilm.ee www.sixpackfilm.com

26 27 Late Night Bizarre((15)) at The Horse Hospital Sat 2 November 21:30 Happy Holidays Mound Autour Du Lac Australia, 2012, 0’36 USA, 2011, 4’23 Belgium, 2013, 5’00 Animation is such an unbridled Sometimes it is all about the simple idea Sometimes it is when you can see … or not! Hey, Christmas is crap anyway, Like taking Bruce Bickford to the nth The breath of a jogger, an anthill, toast artform and it unleashes some of the executed as if with a stick of lit dynamite exactly how excessive the technique is right? degree and back again – one of the most abandoned on a bench, fragments of life most unleashable imaginations on the clenched between the teeth. Other that you realise you are in the presence Directors Cameron Gough & Dirty Puppet intense examples of plasticine animation that take us on a walk around a lake with we’ve ever seen. Set to a haunting Scott words and music. planet. The temptation to ‘go wide’ times, it is a startling piece of ‘la truth of something that not very many people Walker song. is played out time and time again by brutale’, unconcealed and waving the on this little round revolving orb could Directors Carl Roosens & Noemie Marsily animators as they push to bring to the artistic equivalent of a sack of hammers create. Director Allison Schulnik screen barely imaginable scenarios, around in circles above its head. Or, for crazy battling juxtapositions and boil- fun, it can be akin to being gaffer taped And the programme closes with a your-eyes imagery. The films that go to the front of an insomniac express train real treat. One of LIAF’s most revered through the red line on this particular taking a bend at too high a speed. filmmakers, Dutch animator Rosto, meter deserve their own programme, returns with his latest work Lonely a place they can call home and In this programme Mound (Allison Bones. This caustic melange of where they can scratch and paw Schulnik) is a pretty good standard technologies and techniques is vintage Apples We Have Eaten Barracuda their way onto the big screen in the bearer for excessive technique and Rosto, at his restless, searing, lashing Switzerland, 2012, 3’11 Belgium, 2011, 6’40 good company of like-minded visions obsession. As you watch this film, out best. A compendium of rage, Carnal and faecal delights – and their Surprised by the rain, a man enters a concocted by fingers attached to the contemplate how many elements of bewilderment and unrestrained dark egg-popping consequences – in the bunny building, only to meet a very strange bunch hands on the arms powered by the the film move, how well they move and soul searching, this film cuts to the heart version of the Garden Of Eden. of individuals in the corridors and staircase. I Love You So Hard minds of the anima-pyrotechnicians what it takes to keep this plasticine of the quest for excess and closes the Director Masha Ermak Director Sarah Martin UK, 2013, 2’00 that pushed them into this world. sanatorium of insane characters programme down with the self-confident And so, welcome to the annual LIAF pulsating, swaying and regurgitating force that it deserves and which Rosto A bizarre and terrifying fantasy seduction collection of ‘Late Night Bizarre’. cloned avatars of themselves. specialises at pouring in through the roof. featuring a mid-air battle with a rhinoceros. Director Ross Butter

Baby, I Love You No One Remains Virgin – USA, 2012, 2’25 Under the Lion Crotch In Front Of The Mirror Like Sure, it might start out slow and sweet but Hong Kong, 2012, 4’42 Germany, 2013, 2’25 Holland, 2012, 1’57 – trust us – it don’t take long for the bile to Sometimes fighting the stench of Two heads are almost always better than Be seated. Get comfortable. Try to absorb Lonely Bones rise … and rise … and rise! development means facing down the lion’s one. The spare head can do all the talking, the deeper truths from the dancing Powerthirst France, 2012, 10’00 giant penis of wealth that stalks the land. handle distractions – even take the bullet. psychedelic pussycat of love. Director Faiyaz Jafri Canada, 2007, 1’23 Some images may offend … developers! Director Lydia Guenther Director Lotta Sweetliv A one-eyed man escapes from a hotel Drink Powerthirst and you WILL vomit up room and steps into a godforsaken world, Director Wong Ping a wedding. where time and space melt together. Director Picnicface Director Rosto

Rotting Hill Happy Train New Zealand, 2011, 4’16 USA, 2012, 2’27 Funeral Home Piñatas This is one way to deal with zombie action Probably best to try and not ride this New Zealand, 2012, 1’11 in the back yard. particular line. Every one of the passengers Thumb Snatchers From the Things Don’t Fit has had their tickets well and truly Nothing says love like a stick, a blindfold Director James Cunningham Moon Cocoon UK, 2013, 6’30 punched. and a stiff full of sweeties. USA, 2012, 7’00 The daily routines of several people are Director Tami Takezawa Directors Andrew McCully, Jayson Simpson, Jacob Tuck & Arun A short tempered Texas Sheriff uses his disrupted by unexpected events causing Gnanaselehar cowboy logic to recklessly defeat a race of the world around them to unravel. condescending, cocoon dwelling critters. Director Tim Divall Directors Bradley Schaffer & Ashley Arechiga

28 29 Music Video(15) Session

at the Horse Hospital Sat 2 November 19:30

Shugo Tokumaru – Katachi Two Fingers – Vengeance LIAF’s annual collection of the hottest music videos from all over the world. Filmmakers Przemyslaw Adamski & Rhythm Animation is an integral element in many of the best music videos. Producing them Katarzyna Kijek Filmmaker Chris Ullens also provides a commercially viable way for animators to earn a living and produce work they can be proud of. Here are 17 of the world’s best and most innovative music videos produced in the last 12 months, providing a visual mash-up of styles, Sothko – Everything is Fine techniques and genres. Filmmaker Marc Johansen

Delicate Steve – Tallest Binary – G.O.D. Heights Filmmakers Nicos Livesey & Tom Bunker Filmmakers Becky Sloan & Joseph Pelling Gotye – Easy Way Out Filmmaker Darcy Prendergast/Oh Yeah Wow

Franz Ferdinand – Right Bonobo – Cirrus The Spinto Band – The Actions Filmmaker Cyriak Harris Living Things Filmmaker Jonas Odell Filmmaker Phil Davis

Wax Tailor feat. Aloe Blacc – A-Trak & Tommy Trash – Time To Go Tuna Melt Filmmaker Darcy Prendergast/Oh Yeah Filmmaker Ryan Staake Wow Benjamin Scheuer – The Lion Filmmaker Peter Baynton

Pistamashina – 7596 Frames China Rats – No Money Flying Lotus – Tiny Tortures Tame Impala – Feels Like Primus – Lee Van Cleef Filmmaker Martin Georgiev Filmmaker Richard Swarbrick Filmmaker David Lewandowski We Only Go Backwards Filmmaker Chris Lenox Smith Filmmakers Becky Sloan & Joseph Pelling

30 31 Old Man SPD and Me American Homes Act of Terror USA, 2012, 5’45 UK, 2013, 3’40 USA, 2011, 12’15 UK, 2013, 7’15 Animated to snippets of phone A true and honest look at the symptoms An animated history of residential While filming a routine stop and search of conversations with helter-skelter serial killer and effect of Semantic Pragmatic Disorder architecture in America unfolds while her boyfriend on the London Underground, Charles Manson, this reaffirms his ‘down to and how the film’s Director has learnt to notable figures in the world of design and Gemma suddenly found herself detained, the bone’ madness. live with it. architecture weigh in on what a house is handcuffed and threatened with arrest. Director Leah Shore Director Matthew Brookes and can be. ‘Act of Terror’ tells the story of her fight to Director Joel Fox bring the police to justice and prevent this happening to anyone else, ever again. Directors Gemma Atkinson & Una Marzorati

Animated (15) Irish Folk Furniture Seams and Embers Documentaries Ireland, 2012, 8’20 UK, 2013, 6’15 From A to B and Back Again at Barbican Sun 27 October 14:00 In Ireland, old hand-painted furniture is Young Jim follows his coalmining (Rachel’s Story) UK, 2012, 5’30 often associated with hard times, with forefathers into a rough working life Good Grief poverty and with a time many would rather underground, while die-hard miners tell of Rachel, a young child, escaped her Australia, 2013, 8’00 forget. In this sumptuous film we see how a rugged industry died hard. country of origin having suffered years 16 pieces of traditional folk furniture are Director Claire Lamond of persecution because of her religion. Five real people share their true stories of repaired and returned home. After settling in to life in the UK, Rachel losing something precious and what it has When you think about it, animation describes how she was suddenly taken taught them about living. is a great tool for creating Director Tony Donoghue to a detention centre, as her and her Director Fiona Dalwood documentaries. Perhaps the camera family were told they had to return to their couldn’t be present during the action; country. perhaps the action is invisible to Directors Andy Glynne & Salvador a live action camera or maybe the Maldonado documentary ‘story’ just needs Britain some extra special style to make it UK, 2011, 2’40 compelling or easier to understand. Eric and Lyn, two elderly people, are a pair Persuasive, illustrative and able to of armchairs discussing the politics around get over abstract details in attractive Britain today. and compelling ways, animation is the Director Bexie Bush perfect tool to document someone’s Drawing For Memory (Ali’s vision of the truth. Story) Devil in the Room UK, 2012, 3’50 UK, 2013, 7’55 This group of films form a compelling argument that animation can help the During the war in Afghanistan, Ali, now Have you ever woken in the night unable to move, certain that you are not alone? documentary form push boundaries and ten, fled the country with his grandmother, leaving behind his parents who were Eyes Closed An examination of what happens when pose a network of challenging, existential unable to leave. An exploration of Ali’s pain Germany, 2012, 5’45 dreams leak into waking life. It is about questions. of being separated from them, as well as We don’t normally talk about death with what is real, what is not, and if it even living for years without knowing whether children, but they know that everyone has matters. Subjects range from traditional Irish folk they were alive. to die – even their parents, and themselves Director Carla MacKinnon furniture, Scottish coalminers, death Directors Andy Glynne & Salvador too. What perceptions do children have as seen through a child’s eyes, sleep Maldonado Visa about death and how do these perceptions disorders, a young refugees experience UK, 2013, 3’10 change over time? of living in the UK, a very recent dialogue Produced for the Migrants’ Right Network, Director Samo (Anna Bergmann) with incarcerated Californian psychopath a film about recent immigration changes in Charles Manson and much, much more. the UK that are tearing many families apart. Director Maryam Tafakory

32 33 Aston’s Presents Monstersinfonie Mungge, Not Again! Someone Who Gets You Sweden, 2012, 9’00 Germany, 2012, 3’05 Switzerland, 2013, 6’20 USA, 2013, 1’10 This multi-award winning film shows If you’re brave and really show them who’s Sleepwalking can be very dangerous, Sometimes it feels like no-one understands the loveable character Aston eagerly the boss, your monsters can become a especially if two marmots and a hedgehog you. Sometimes it seems like everyone awaiting his birthday, making packages of really great little orchestra. are trying to rescue their sleeping friend. thinks you’re strange. But once in a while (U) everything he finds and discovering that, Director Kiana Naghshineh Directors Claudia Röthlin, Adrian Flückiger you will find someone who shares your sometimes, material gifts are not the best. & Irmgard Walthert sense of humour – and this is how best Directors Lotta and Uzi Geffenblad friendships are born. Amazing Director Tony Dusko Animations Children’s Programme 0-6 years High Above the Sky Fresh Guacamole Miriam’s Food Processor UK, 2012, 2’50 USA, 2011, 1’50 Estonia, 2012, 5’15 at Barbican Sat 26 October 11:00 also at The Rio Sat 2 Nov 13:15 (Repeat) This rocketship ride outside the Nominated for a 2012 Academy Award, Miriam is in the kitchen, making a supermarket is the best one there is. It Director PES creates fresh guacamole with milkshake with the food processor. But her Believe in Yourself goes way, way up and swoops way, way his own special recipe. beloved pet chicken keeps pressing wrong down. buttons and finally it crashes onto the floor, USA, 2011, 1’05 Director PES Animation, like childhood, can be full of Directors Kim Noce & Shaun Clark which sends it completely mad. Racer Rabbit helps Croxie the Crocodile wonder with the biggest pleasures being Director Andres Tenusaar when he feels like giving up. the simplest ones. This programme, carefully chosen for our littlest and most Director Tony Dusko special audience, strips away all the soft-sell toy ads and the over-the-top blockbuster-style special effects and just delivers up a screening of wonderful films full of simple joys. A Girl Named Elastika Komaneko, Home Alone Canada, 2012, 3’30 Japan, 2013, 7’30 LIAF curates a year-round rolling You are not gonna’ believe your eyes!!! The continuing adventures of one of LIAF’s programme of childrens films that screen A whole, way-cool movie made out of favourite characters. Ojii leaves Komaneko at Picturehouse Cinemas Kids Club and Sharing nothing but pins and rubber bands. alone at home, but poor Komaneko gets a Toddler Time sessions across the UK. Miriam’s Green Spots little scared. Estonia, 2012, 5’15 USA, 2011, 1’50 Director Guillaume Blanchet Director Tsuneo Goda Please refer to the LIAF website Miriam’s little brother gets ill, thus getting We all have our favourite toys, the ones we www.liaf.org.uk for full programme details. the attention of the whole family. Miriam’s love to play with most. This film is about jealousy leads her to paint some spots on the value of sharing. her own face. Director Tony Dusko Director Priit Tender

Tom and the Queen Bee Germany, 2012, 5’00 Children’s Animation All Tom wants is a slice of bread with strawberry jam and honey but the bees are getting in his way. The Goat Herder and his Workshop Director Andreas Hykade Lots and Lots and Lots of Goats at the Barbican Sat 26 October 10:00 The Sandpixies: Clouds, UK, 2012, 7’12 An amusing day in the life of a goat herder Join us in the Barbican cinema foyer The Deep Nothing But Clouds and his lots and lots and lots of goats, who for a free drop-in animation workshop. USA, 2012, 1’35 Germany, 2012, 4’55 like to munch on anything (and everything) A special chance for children to try out Here’s a look at a strange underwater What happens at the beach after the they find! their hands at making a short animated world you’ll never have seen before! children have gone home? It’s when Calamity Island Director Will Rose sequence, with BAFTA-award winning Director PES sandpixies George and Agatha wake up UK, 2011, 7’12 animator Kevin Griffiths. and go on their nightly adventures. Two shipwrecked sailors are stuck on a Director Ralf Kukula tropical island with a mischievous penguin. special thanks to Director Dave Johnson

34 35 Rising Hope International Fathers Day Germany, 2012, 9’15 Latvia, 2012, 5’00 Rising Hope, once the fastest horse in the For most people Fathers Day is a world, suddenly turns into a loser. With the celebration, but for one small bird – an help of a new friend – a jack-of-all-trades Wind ordinary working day where he has to feed hound – he finds hope and himself again. his family. Germany, 2012, 3’05 Director Milen Vitanov Director Edmunds Jansons Wind can be a nutty friend, a challenging protector or a wily, invisible predator. But how is it generated? Choir Tour Director Robert Loebel Latvia, 2012, 5’15 A world-famous boys’ choir goes on tour. In the hands of their conductor they are obedient but when he gets trapped in an elevator they become playful children. Director Edmunds Jansons

(U) Little Plastic Figure Kostya Germany, 2012, 3’10 Russia, 2012, 6’00 Sometimes we need a little help from our Kostya is a nice little skeleton. He is inanimate friends. A plucky stop-motion heading towards an unknown future, one Marvellous musical irreverent tribute to an unassuming he hopes to be bright. doll figure and her sleepwalking Director Anton Dyakov Animations companion. Director Samo-Sama 7-15 years The Deep at Barbican Sun 27 Oct 11:00 The Mole at the Sea USA, 2012, 1’35 also at The Rio Sat 2 Nov 15:00 Russia, 2012, 5’00 Here’s a look at a strange underwater Everyone’s off to the seaside. Not wanting world you’ll never have seen before! A Gum Boy to miss out, the mole starts digging. When Director PES Japan, 2010, 3’45 he gets there it’s nice and quiet with just a Pishto Goes Away Here are 14 of our finest films chosen few crabs and a sailing boat to keep him Russia, 2012, 9’00 Kuchao is a bit of an outsider as far as especially for 7-15 year-olds including company. But then the hordes arrive. One autumn, Pishto gets so sick and tired school is concerned. The others are several that are screening throughout the preoccupied with releasing balloons into Director Anna Kadykova of everything that he decides to leave for competition programmes. You’ll encounter good. On his tiresome journey he meets a the air, but he’d rather chew gum. But moles, horses, bees, some very strange cute and shy little dog. chewing bubble gum can also help you fish, a marmot, a skeleton and a very take off, high up to where the aeroplanes Director Sonya Kendel and rockets are. naughty world-famous choir. Director Masaki Okuda LIAF curates a year-round rolling programme of childrens films that screen at Picturehouse Cinemas Kids Club and Toddler Time sessions across the UK.

Please refer to the LIAF website www.liaf.org.uk for full programme details. Anatole’s Island UK, 2013, 3’05 Anatole, a little marmot, lives on a magic Fresh Guacamole Tom and the Queen Bee Nearest and Dearest Island. When he runs into St Ignatius, the USA, 2011, 1’50 Germany, 2012, 5’00 Germany, 2012, 6’45 monk, Anatole finds the poor man terribly Nominated for a 2012 Academy Award, All Tom wants is a slice of bread with When the world’s best big sister is moving upset about his lost snake. So, Anatole Director PES creates fresh guacamole with strawberry jam and honey but the bees are away, you really need a good plan to sets off to try and find him bumping into his own special recipe. getting in his way. prevent this from happening. many eccentric inhabitants along the way. Director PES Director Andreas Hykade Directors Michael Sieber & Max Stohr Directors Amer Nazri & Chris Shepherd

36 37 It’s been a good year for British films – this time last year there were grumblings about lack of home-grown funding opportunities. But the Random Acts scheme in partnership with Channel 4 has been a great success.

‘Imperial Provisor Frombald’ UK, 2013, 3’00 Director Elizabeth Hobbs

As usual the British showcase It’s a delight to have Chris Shepherd’s new use this Oscar Wilde quote, “People say is a mixture of films from more filmAnatole’s Island screening at LIAF and sometimes that beauty is only superficial. established filmmakers and the even more so as we’re also screening That may be so. But at least it is not so (15) best of the new crop from recent Chris’s nerve-jangling film from 2003Dad’s superficial as thought is. To me beauty is graduates from the best animation Dead in the LIAF 10 Horror programme. It the wonder of wonders. It is only shallow courses around the UK. We had just so happens to be Dad’s Dead’s tenth people who do not judge by appearances. approximately 400 British films anniversary as well so it seemed apt. The true mystery of the world is the visible British entered into this years festival and not the invisible.” whittling down the list to what we Anatole’s Island (made in collaboration consider to be the best 15 has been a with UCA graduate Amer Nazri) follows I profess to having a vested interest in Showcase difficult and thankless task. the adventures of Anatole, a little marmot, Paul’s film. My partner Rebecca and I are living on a magic Island. When he runs 2 of the subjects in Lay Bare and 2 of at the Barbican Wed 30 October 18:30 It’s been a good year for British films – into St Ignatius, the monk, Anatole finds my children might even have ended up this time last year there were grumblings the poor man terribly upset about his lost in it, though they were being particularly about lack of home-grown funding snake. So, Anatole sets off to try and find mischievous that day when Paul turned up opportunities. But the Random Acts him. On his journey he encounters several to film us all and keeping a 6 and 8 year- scheme in partnership with Channel 4 has eccentric inhabitants - from The Red old still ‘for the camera’ was a challenging been a great success in changing this with Admiral (a naval captain with wings), to experience for all. It’s one of those ‘blink its bold remit of screening 260 specially the Narb (a strange creature from another and you’ll miss it’ films so they might not commissioned 3 minute short films (not world), to Mrs Fontanelle (the friendly but have made the final cut. I haven’t gotten just animation but also live-action and mad inventor). No one seems to know round to asking Paul yet. documentary) over the course of a year. where the snake is. For anyone used to The animation wing has been curated by Chris’s dark side Anatole’s Island may The RCA has had a very good year the exemplary Ruth Fielding and Camilla come as a bit of a surprise as it is filled and the fruits of that can be seen in the Deakin from Lupus along with renaissance with magic, excitement and humour, 4 films here by Christine Hooper On( man Chris Shepherd and we’ve seen the cute characters, a sense of wonder and Loop), Christian Schlaeffer (The Dewberry likes of David Shrigley, Emma Lazenby, absurd humour. In fact so much so that Empire), Daniela Sherer (The Shirley AL and AL, Frank Eddie, Sandra Slater, we are also screening it for children in Temple) and Luiz Stockler – (Montenegro). Stephen Irwin, Milo Waterfield and Simon our 7-15 year-old session. Watching But also check out 2 other RCA films in Swatman and the creative teams at Anatole’s Island is like taking a trip into the Animated Documentary programme 12foot6 and Animate Projects produce another universe, albeit a special trip from by Carla MacKinnon (Devil in the Room) some amazing stuff. the recesses of Chris and Amer’s addled and in the Late Night Bizarre programme minds. by Tim Divall (Things Don’t Fit). We’ll There are 4 films from Random Acts be keeping an eye on these talented screening in the British showcase – Another established filmmaker who we’re animators career progressions. Watch this Anatole’s Island by Chris Shepherd and really glad to welcome back to the LIAF space. Amer Nazri, Imperial Provisor Frombald fold is Paul Bush with his 6-minute film by Elizabeth Hobbs, Don’t Fear Death by Lay Bare. A pixilated tour-de-force, Lay Louis Hudson and Moon River by Sue Bare is a composite portrait of the human Magoo – as well as Robert Morgan’s body assembled from details captured by chilling horror filmInvocation screening in close-up photography of over 500 men competition and Max Hattler’s Shift in the and women of all ages and from all over Abstract showcase. the world. In his synopsis Paul chose to 38 39 Anatole’s Island Lay Bare Imperial Provisor Frombald I am Tom Moody Montenegro Aeolian UK, 2013, 3’05 UK, 2012, 6’00 UK, 2013, 3’00 UK, 2012, 6’30 UK, 2013, 6’55 UK, 2012, 6’35 Anatole, a little marmot, lives on a magic ‘It is only shallow people who do not The true story of Imperial Provisor A surreal trip through the subconscious of All together now – “Zinedine Zidane, why The life cycle of a creature as it explores Island. When he runs into St Ignatius, the judge by appearance,’ wrote Oscar Wilde. Frombald, an administration official from a stifled musician, wracked with self-doubt, did you head-butt that man?”. the natural world around it. As it grows monk, Anatole finds the poor man terribly Over 500 people of different ages and Belgrade, who unwittingly became the as he struggles to sing. bigger, so too does its understanding of Director Luiz Stockler upset about his lost snake. So Anatole sets nationalities modelled for this sample book author of the first documented testimony Director Ainslie Henderson nature and life’s inevitable conclusion. off to try and find him, bumping into many of the human body. The result is erotic, of the exhumation of suspected vampire, Directors Tom Shrapnel & Cameron Lowe eccentric inhabitants along the way. funny, beautiful and vulnerable. Peter Plogojowitz in 1725. Directors Amer Nazri & Chris Shepherd Director Paul Bush Director Elizabeth Hobbs

Chris Shepherd is a Paul Bush’s Elizabeth Hobbs Ainslie Henderson is Luiz Stockler makes Tom Shrapnel and multi award winning films cross the is an independent an animator, writer, films, drawings, Cameron Lowe are director, writer and boundaries between animator working in director, currently poems and songs. the collaborative producer. From documentary, fiction East London under living and working in He was born in duo Duke and Duke. his award winning and animation and the name Spellbound Edinburgh. Early in Brazil, grew up in Tom is a Director directorial debut for have been shown Animations. Her 2012 he was awarded Wales and now and Cameron is an Channel 4 in 1997 - The Broken Jaw, in art galleries and as installations as short films have been screened widely a BAFTA for his co-writing of The lives in London. Montenegro is his Animator/Motion Graphic Artist. Aeolian Chris has worked on many TV Shows and well as conventional cinemas. He has internationally and won many awards. making of Longbird with director Will graduation film from the RCA. is their second film. commercials including animation for Chris won numerous awards and his work is They include The Emperor (2001), The Anderson. He and Will are the creative Morris’s Nathan Barley and classic World owned in public collections all over the Witches (2002), and The Old, Old, Very team behind ‘White Robot’. What made you make the film? What made you make the film? Stareout Championship sketches for world. Old Man (2007). Elizabeth also runs I’m interested in the way our minds work, We wanted to expand on the live action/ BBC’s Big Train. His director/writer credits animation workshops in museums and What made you make the film? the way in which we create something animation techniques we’d developed in include, a ten part series for Channel 4 What made you make the film? galleries and lectures at Anglia Ruskin I made a previous film calledIt’s About from nothing and how that can manifest a previous short we made called This Is called People’s Britain (2000), acclaimed Strangely the idea started from a commercial University in Cambridge. Spending Time Together, a very personal inside us and quickly spiral out of control J03. This Is J03 was set in a gritty urban short Dad’s Dead (2003 - 25 awards), I made - usually it’s the other way round. story. I found being in a dark room for a long until we feel completely isolated and self environment so we were keen to do comedy collaboration with David Shrigley Making the film coincided with being in love - What made you make the film? time to be quite therapeutic. I wanted to absorbed in what’s going on internally. something in a more natural environment. Who I Am And What I Want (2005), Silence a situation I hadn’t experienced for 20 years. I read the testimony written by Imperial make a film that would make me feel better Is Golden (2006) and his latest BBC drama Provisor Frombald documenting his trip to somehow. Is there something you can tell us Is there something you can tell us about Bad Night for the Blues (2010). Is there something you can tell us about Kisilova whilst I was artist in residence for about the production process? the production process? the production process? the Tricky Women Film Festival in 2009. It Is there something you can tell us about I put the rough draft together in one Aeolian was made on zero budget and took What made you make the film? The original plan was to make this with the was a story that I really wanted to tell using the production process? night and made the film in around 8 3 years to complete. The film was shot in Robert Popper showed me the script by Phil National Film Board of Canada who came animation. I love the vitality of the animated One of my favourite moments was with weeks. It was animated in Flash and then East Anglia in the summer of 2009 with the O’Shea and I fell in love with it. Then the brilliant up with nearly two thirds of the money. prints on 35mm film and the necessary Mackenzie and his son, Jude, recording composited in After Effects. When it came animation and compositing taking place in Ruth Fielding come on board and helped us Unfortunately after 3 years of trying I had to economy of working on a very small scale. voices for the final scene. We did it at home, to the sound, I worked with Nikola Medic, our spare time over the course of the next make the film. It reminded me of all of those give up because I couldn’t find the balance in a kind of soundproofed tent made from a Serbian sound designer, with whom I few years. great series that I grew up watching like Mr in the UK. But meanwhile I had been taking Is there something you can tell us about a pile of mattresses and duvet covers, had previously collaborated. Due to visa Benn, Ivor the Engine and The Clangers. photographs and making tests. Several the production process? Mackenzie and Jude were huddled in there, restrictions, we did it all over Skype in three Where do you get your ideas from? years later I had all these photographs of the I carved the images into small rubber stamps holding a mic between them. It was very days...the guy is a genius! Coming from different backgrounds, Is there something you can tell us about body so I decided to go ahead and finish (2.5 x 1.5cm) and printed those onto 35mm funny and sweet. Tom from live action and Cameron from the production process? the film on my own. In effect the production film stock in little loops or sequences, I could Where do you get your ideas from? animation, our influences and inspirations Amer Nazri designed the wonderful process lasted 6 years. review those on my Acmade Compeditor Where do you get your ideas from? I’m pretty inspired by the small things I often vary which can lead us to interesting characters and we animated it in After Effects though in the end I scanned the images and I take my time, walk, think, wonder. I notice in the everyday world around me. fusions of ideas. Aeolian came from a mimicking the classic Postage cutout style. Where do you get your ideas from? compiled the animation digitally. really need solitude and time. The scene Also, I get ideas from things I read or combination of Tom’s love of the films of It’s centered around a great performance by The ideas come from other ideas that come in Tom Moody where they go busking hear. Most of my work generally starts Terence Malik and Cameron’s love of the Peter Serafinowicz. from other ideas and so on. I’m not sure Where do you get your ideas from? on Halloween, that actually happened to off as being a series of anecdotes that I films of Hayao Miyazaki. We wanted to show where they all began. It was a long time ago. Usually archives or libraries. someone I know, the sense I got from that have written down in my book, sort of like the life cycle of a simple character as it grows Where do you get your ideas from? On the whole making things inspire more story stayed with me for a long time, it was a sketches, and at some point I get them all and how the changing environment around it Anatole is from the mind of Phil O’Shea. ideas, so the more I make the more I want What are you working on now or spark that much of the film grew from. together and write something. affects it’s understanding of the world. Myself, I draw upon anything that’s going for to make. planning on working next? an idea. Small or big. You name it. I’m presently working on a film called What are you working on now or What are you working on now or What are you working on now or What are you working on now or Finding my Way made with young people planning on working next? planning on working next? planning on working next? What are you working on now or planning on working next? in Foster Care in Cambridgeshire. I’ve also I’m just finishing another short film called I’ve just finished a short video and some We both work in commercials at the moment planning on working next? I have just started a short animation just finished Water Folk, a film about the Monkey Love Experiments about a visuals for German rap artist Cro and but are hoping to collaborate on another I’ve just directed a series of comedy blaps! based on museum collections which will movement of water dwelling creatures which Laboratory monkey who believes he’s being illustration for Soho barbers Joe and Co. project in the coming year. for Channel 4 which go on air in October be a Swiss/UK co-production. I am also was made in collaboration with a scientist trained to go to the moon. I’m excited about I’m now hoping to just sit in my underpants and my new filmThe Ringer premieres at the developing 2 live action feature films. Malcolm Burrows. I’d also like to make an sharing that. for a few months and do nothing. London Film Festival. animated thriller on 35mm. A little one. 40 41 The Dewberry Empire Jammed Sleeping with the Fishes Don’t Fear Death On Loop The Man who Mistook his UK, 2013, 7’45 UK, 2012, 2’10 UK, 2013, 9’00 UK, 2013, 3’03 UK, 2013, 5’00 Wife for a Hat An eight year-old girl and six year-old boy The story of a bold, heroic, Viewmaster Sonja lives a lonely life as a fishmonger Featuring the dulcet tones of Rik Mayall, Four in the morning, crapped out, yawning. UK, 2013, 3’20 amble through a strange and still summer robot, venturing into an unknown world to until one day a delivery man turns up who this fast-paced comedy argues the joys Director Christine Hooper Using only charcoal and three sheets of afternoon in a world which seems to exist save an unknown soul. looks like a rainbow trout. of being dead, aided by a montage of A1 paper, this film visualises one of Oliver only for them. Director M-I-E/Yibi Hu Director Yousif Al-Khalifa corpses and a dance-crazed Grim Reaper. Sacks’ seminal works, describing a unique Director Christian Schlaeffer Director Louis Hudson neurological oddity. Director Ross Hogg

Christian Schlaeffer Yibi Hu is a visual Yousif Al-Khalifa Louis Hudson Christine Hooper Ross Hogg is an grew up in artist, animator and is a graduate from is co-founder of spent her childhood animation filmmaker Germany, where filmmaker. His films the National Film comedy film duo Dice years creating based in Glasgow, he stayed to study include A Friend and TV School. In Productions with Ian minuscule fimo Scotland. Graduating Communication- I Know, KEG, A 2012 Yousif won two Ravenscroft. Having sculptures and from the Glasgow Design. He then left Day at Dunjanez, professional pitches studied animation at honing her skills as School of Art in the European mainland to study for Josie’s Lalaland and Palingensia. In whilst studying; one for the BBC Edinburgh College of Art he has created a puppeteer in case Jim Henson came June 2013, Ross’ debut animated film a Master’s degree in Animation on a 2006 Yibi was invited to compete in Open University’s Creative Climate work for UK Film Council, Channel knocking. Studying Graphic Arts and The Man Who Mistook His Wife For nearby island. Reelideastudio at the Cannes Film competition and one for ourselves, 4, BBC Comedy and Oxfam. His first Design at Leeds Met University she A Hat (adapted from Oliver Sacks’ festival where he won Best in Show. LIAF, to make our 2012 trailer. The film funded short was All Consuming Love went onto work within post production. seminal work) had it’s world premiere What made you make the film? His other films have been shown at screening here Sleeping with Fishes is (Man in a Cat), starring Kevin Eldon and She then tried her hand at documentary at this years Edinburgh International The Dewberry Empire is my graduation film Onedotzero, Bitfilm festival, Bristol his graduate film. Josie Long. television before moving onto the MA Film Festival. His second animation, from the Royal College of Art, and as such International Short Film Festival, Animation Course at Royal College of Spectators, had it’s world premiere at the answer to the question of why I made Sundance Festival and many others What made you make the film? What made you make the film? Art, which she completed in June 2013. this years Ottawa International Film this film is clear: I did it for the money. around the world. The story’s theme of isolation and connecting Ian started with the title. We love finding the Festival. with someone else really appealed to me. I surreal in mundane things and making light What made you make the film? Is there something you can tell us about What made you make the film? also love fish! of the morbid. But the singular twisted logic I came across an interesting quote from What made you make the film? the production process? Lamenting the demise of the audio cassette, of the main character and the way his story is Bill Nichols; ‘Every film is a documentary’. The Man Who Mistook His Wife For A Hat, When I started the preproduction, it soon we thought it would be nice to try and find Is there something you can tell us about weaved into the plot of the film is what made He argues that every film, even the most written by Oliver Sacks, is such an insightful became clear that I could not get children a fitting tribute to it’s faded glory.Jammed is the production process? it feel especially important to make. whimsical of fictions, gives evidence of it’s and thought provoking case study of the to perform a script, while still getting the -in the story of a bold, heroic, Viewmaster robot, The film was made in the final year of my director. So I decided to make a film drawing human mind that I felt it deserved to be animation- unusual, realistic performance out venturing into an unknown world to save an Masters at the NFTS. The school provided Is there something you can tell us about on my personal experiences – to give a feel adapted and relayed in a more visual and of child-actors. To be precise, I didn’t even unknown soul. We had great fun making this funding for assistants and equipment. the production process? of authenticity but not be restrained by the tactile way. want to use child actors, but rather see how short film, using a mixture of stop motion and The animation was nearly all created in Flash. documentary format. One thing I had a lot of far I could get with non-actor children. Thus, 3D techniques. Where do you get your ideas from? The bulk of it was created between me and experience of was insomnia, so I chose that Is there something you can tell us about I started with a very rough script, an idea of For this film in particular I worked with my 2 other animators through Dropbox. Working as the theme. the production process? a plot, and went into the sound recording, Is there something you can tell us about writer, Sarah Woolner. We showed each purely online like that can be tricky but it’s The nature of production gave every frame a which we did outdoors, to see what would the production process? other the films we love to give an idea of great that we are now able to work with Is there something you can tell us about sense of transience. The previous frame had happen. The details of the plot were decided Our style was influenced by the need to find what we wanted. We had hundreds of great people who are just right anywhere in the the production process? to be destroyed to make way for the next, on after that, and only then could I start a balance between the shiny, fragile tape ideas, but always felt we could do better. world. It took a long time! I consumed my body reflecting the condition examined in Oliver making a storyboard and design everything and the hard, plastic, retro objects. The Sarah wrote a mini-treatment one night after weight in chocolate brioche, got through 2 Sacks’ writing. etc. Viewmaster head of our robot was a nice talking to her about making a film simply Where do you get your ideas from? glue guns and spent the majority of a year way of creating a fun and warm character, as about loneliness. The story then took a life Ian is incredible at taking a basic idea cooped up in a dank basement at the Royal Where do you get your ideas from? Where do you get your ideas from? well as paying homage to a by-gone era. of its own during the animatic, edited by the and then running with it in an unexpected College of Art within a bedroom set, lit to feel Mainly from experience and observation. It is a film about political structures, and as very gifted Johannes Bock. With my other direction. I think both of our biggest sources like 4 o’clock in the morning. This can range from anything between such it is inspired by man-made hierarchies, Where do you get your ideas from? films, ideas come from various places, but of inspiration are from the more fringe (or responding to certain ideas or phrases from rooted in traditions that have long lost their Cassette tape spool is very fragile and having a limitation always really helps, it’s very lumpy) people we know and around our Where do you get your ideas from? a book, to observing and capturing human meanings; social inertia, cargo cult politics therefore difficult to handle. We created frustrating at first but equally as rewarding. home of Birmingham. Everywhere and anywhere. On Loop was behaviour in different social situations. and the question of whether dwarves really our own specific rig to manage it, making definitely influenced by my previous years did start small. things much easier. Even the little mistakes What are you working on now or What are you working on now or binge listening to This American Life, an What are you working on now or we made, ended up adding to the film. The planning on working next? planning on working next? American radio show which covers a different planning on working next? What are you working on now or robot, the tape and the clouds were all made Currently I am in that same frustration phase, We’re currently gearing up for another theme each week. I am working on a few projects - all of which planning on working next? in Cinema 4D. What we love most about this trying to come up with an adult animation Random Acts film calledGregory Is are in their very early stages of development. To be able to afford having studied, I’m film is the combination of the two techniques series, it’s still very early but hoping that again A Dancer. It will be our first live action What are you working on now or One is a more abstract experiment using currently retraining as a cityboy. Less films, and how they marry so well. the frustration will pay off. commission which is a bit scary. planning on working next? only a 16mm projector to generate a more bonuses! I’m currently working with Ragdoll on an exciting soundscape and another is an observational new programme they are creating for BBC. short film with the working titleWalk Cycle. 42 43 Moon River Hum The Shirley Temple UK, 2012, 3’00 UK, 2012, 3’45 UK, 2013, 9’40 Voyage to the end of your imagination at It’s another endless, sleepless night. The boundaries between childhood and this chic, modern and secure facility where Bedtime rhythms and routines mark adulthood become blurry for a kid at anything can happen! the hundreds of hours that drift past his mother’s cocktail party. Characters, Director Sue Magoo in a twilight haze. You’re caught in symbols and abstractions interchange to a monotonous cycle, until suddenly examine the relationships between children something heavy and strange approaches. and adults, escapism and sexuality. It weighs you down. You need to find a Director Daniela Sherer way out. Directors Emily Howells & Anne Wilkins

Sue Magoo has been Emily Howells & Anne Daniela Sherer is working in animation Wilkins are a duo a 2D animator and since 2008. (S)he does based in Manchester. illustrator from Tel READ uncompromising film reviews, articles and festival reports enough commercial They have made 2 Aviv, Israel. In 2009 directing and previous films -A Film she graduated from freelance animation to about Poo and Spin USC, Los Angeles allow free time to experiment with his/ Spun Span. Between directing films, with a BA in Animation and Digital Arts. FIND OUT about the neglected gems of cinema’s darkest corners her own work - mostly animations that they do freelance animation for TV and In 2013 she finished her MA in animation straddle the worlds of digital art and film, teach animation workshops, and at the Royal College of Art, London. animation. produce and illustrate their own zines WATCH bizarre and beautiful trailers and videos for the illustration collective, Nest. What made you make the film? ! What made you make the film? After making some experimental short The motion studio I was working at were What made you make the film? visual music pieces, I started to notice how for specially commissioned comic strip reviews and illustrations pitching on an ‘MTV goes to Ibiza’ job and The poet Nikky Shafou approached us about extremely minimalist graphics can effectively LOOK OUT FOR having never been to Ibiza, Moon River is her multi-platform project Digging Deep tell a story. At the same time, I became what came to mind. My boss thought I was asking if we would animate a film that was inspired by several short stories published mad or depressed which was fair enough about dreams and a restless nights sleep. in the New Yorker, and reworked some of LISTEN to podcasts of interviews with visionary and provocative filmmakers as it did look like the worst holiday you could the themes I found there to create a coming ever go on. Is there something you can tell us about of age story out of animated shapes and the production process? symbols. Is there something you can tell us about We worked with musician Billy Payne and the production process? were particularly inspired by Delia Derbyshire Is there something you can tell us about , an Electric Sheep anthology of essays I splurged the script in about 3 hours, and her series about dreams. Billy recorded the production process? CHECK OUT The End expecting that I would whack out the Nikky performing her play as well as counting It’s an experimental film, and so I needed on transgressive cinema, published by Strange Attractor Press animation in a few weeks. It took about 85 and breathing. The final sound edit was to change the order in which I usually work. times longer than I thought. stripped down to the simplest of words, Instead of simply storyboard to animation, I “Superb — a masterly accomplishment. Beautifully repeated over and over. relied much more on getting the movements produced — and its content and vision could not be Where do you get your ideas from? to feel right and tell the story in a more With Moon River I was trying to make Where do you get your ideas from? abstract way. more accurate and timely.” an anti-Pixar film that wasn’t in any way Random places, but they are often linked —PETER WHITEHEAD heartwarming, cute or trite. I didn’t want to to stories or poems we’ve read or pieces of Where do you get your ideas from? make a family-oriented cartoon, a glossy car music. We tend to hang onto our ideas for It sounds like a cliché but I honestly think ad or a hyperreal exploding robot - I wanted a long time – which does mean we spend a ideas are everywhere, so I try to pay to make an awkward little animation that long time in pre-production, adding elements attention. You often find them in a good strove to be neither attractive, spectacular or and developing ideas. read, art, news items, music, but also in very slick and that embraced a certain native 3D random daily observations. I collect eclectic ‘look’. Where do you get your ideas from? ideas in my sketchbooks as a hobby. We have 3 projects in development. A What are you working on now or short musical about a frustrated poet and What are you working on now or planning on working next? cockroach named Archy, another about a planning on working next? I made an art film about the end of the world man named Laurence who has a toucan I’m working as a freelancer while developing in 2012, a weird comedy animation in 2013 named David living in his head, the third my next personal animation projects. I’ve and 2014 will be the year I make a factual a collection of stories, songs and random been making a character animation short www.electricsheepmagazine.com @ESheepMagazine piece about the future of the internet. jibber jabber about menstruation, and it’s and illustrating a novel. Next up I’ll be The online magazine for lovers of offbeat, left-field and cult cinema called Periodicals. animating a music video for a London based musician.

44 ES-LIAFF-2013.indd 1 11/10/2013 13:01:51 Take your skills to the next level

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47 The film is refreshingly free of the kind of film’s opening, ‘I use the word ‘art’ quite “Williams was referred to as the ‘Dick- hero worship that might have crept into a sparingly; I don’t think there are many tator’”, Ashford recounts. “He could be actual artists in the world. Dick is one of extremely cruel and extremely kind – and production of lesser discipline. them’. I entirely agree. I think he’s one of absolutely mercurial. There was always the last of his kind. He’s the Rembrandt tension around him – creative tension – of animation, in some ways. A master of which he thrived on.” Working on the film his craft as much as Beethoven was of produced plenty of memories for Ashford. his. I hope that my project, in some small “I remember being aware of someone way, tries to show his legacy, but also tries looking over my shoulder one morning”, (15) to illustrate him as a three-dimensional he says. “It was Paul McCartney and human being.” George Martin. ‘Hi, I’m Paul. I am here Persistence of Vision from the health department, just doing Festivals generate interesting fissions; a routine safety check’.” Then there was collate disparate human and creative the time Ashford answered the door Gala Opening Night Film collateral that may never otherwise have late one night to a guy, who, introducing been folded into the blend. When word himself as Roger, said he was working at Barbican Fri 25 October 18:30 of LIAF’s plans to screen Persistence on the sound and asked if he could be Of Vision were announced, we heard shown around. After the visit, someone from Simon Ashford who worked as an came and asked Ashford how he knew Animation Assistant under Williams on Roger Waters (from Pink Floyd). “I always Kevin Schreck books written about it, no films made. else said YES’. And she was right. Almost The Cobbler And The Thief. He offers think about working on The Thief as like USA, 2012 It’s something of a lost chapter in cinema everybody we spoke with thought this an additional and first-hand account of being involved with the construction of a history. So I thought I’d give it a shot.” was a story worth telling, and that was what it was like working for the ‘Great cathedral”, explains Ashford. “There used Persistence Of Vision tells one hell Easy said, perhaps even noble. Haven’t very motivating.” Dick-Tator’. “I was working around a few to be this guy called Simon Maddocks. He of a story. Goodness knows how its we all wanted to make a documentary studios in London in 1990”, Simon recalls, animated the original opening sequence. director, Kevin Schreck, managed to about an unmade classic animated feature The film is refreshingly free of the kind of “in particular Hollywood Road productions A monumental scene that took him pull together so many of the threads at some point in our lives? But it has to hero worship that might have crept into on a terrible thing called Freddy as FR07. several years. Patiently whittling away in for this story. There are so many be hard to find the financing? “The initial a production of lesser discipline. No one It was a horrible and bizarre thing about the corner, day after day, year after year. players in the tale, spread over such shooting budget came from Kickstarter. doubts Williams’ astonishing talent, or his a James Bond French frog. The best It was a fly-through of the city up to the a long period of time. Schreck’s We had low expectations as this was one armour-plated self-confidence. Murkier is thing about that experience was working golden balls. These days, it would just be new film, quite apart from being a of the earlier Kickstarter campaigns back a concrete view on whether he was ever with Tiger West, a legendary animation computer animated in no time at all. The compelling yarn of vaulting talent in 2010. But we reached our goal with the going to let himself actually finish the film. guy from the states. He started at Disney whole scene went for less than a minute. thwarted by a caustic cocktail of help of donations from all over the world. Schreck plays this fraying strand of the and also assisted on Tom & Jerry. He You won’t see that scene in the release unleashed ego, constantly shifting The remaining post-production funds story about as even handedly as it can ran the training department at Hollywood version. It was cut before it was finished creative goalposts and unbridled came from my executive producers and be played. But still, there must have been Road. “There was a lot of animation ... It was arguably the finest, most detailed commercial interests, stands my own savings.” some curious mathematics involved in work in London at that time. Everyone piece of animation of its day. And it never as a magnum opus on the art of working out the various balances to be was talking about the legendary Dick saw the light of day.” documentary producing. The textural richness that threads through struck in this process. Williams Studio and his production of the narrative of the documentary is, in The Thief. Hollywood Road was not the It is difficult not to grasp the sense of The short version of the story begins large measure, due to the incredible “We could have really ‘geeked out’ and most glamorous production in town at the tragedy that permeates this extraordinary when Richard Williams decides the time collection of clips and interviews that quilt thrown in as much incredible, mind- time, and toiling away in the in-between chapter in animation history. That so has arrived to create his masterpiece, together to tell the story. Many of the blowing animation as we wanted”, he department there was not where I wanted many people can be swept up into the an animated feature called The Cobbler issues in utilising that material were more says, perhaps just a little too eagerly. me to be.” unexplained vision of a single man says And The Thief. Williams is probably best technical than anything else. But Schreck “And believe me, there’s A LOT. But the a lot about that one man. Would the film known to most of us as the mastermind hit animation paydirt when one contributor policy was ‘story first’. We needed to tell Once Ashford had earned his stripes in have ever been finished if left in Williams’ behind Who Framed Roger Rabbit but for provided two hours of The Cobbler and the narrative in the best way we could.” the ‘in-between’ department at Hollywood hands? It is an open question the film more than a quarter of a century he toiled The Thief animation that had never been More reflectively, “I think if Mr Williams had Road, he ambitiously wrote to Ian Cook, leaves for the audience to decide. The film to make the greatest animated feature shown before. participated, it would have been a very the production manager at Dick Williams offers glimmering hints that completion of all time. As the cost and complexity different film. I can almost imagine two Studio. After a short interview, he was in. was possible. Ultimately, we will never dramatically rose, he eventually took It is not giving much away to say that companion films. One with him telling his The hours were long and the pay was low know. It had genius working for AND the project inside the commercial studio Richard Williams himself will carry bitter side of the story solo, and the one that but, for the mean time, he was young and against it. system, which ultimately saw him stripped memories of this saga to his grave. It is exists that is various viewpoints from all of happy to be animation cannon fodder. of all connection with the film and having something of which he never speaks and these other people that were involved”. He started at the studio around 1991 and Director Biography to watch from the sidelines as the new he seemed uninclined to change that worked there for the final 18 months of ‘owners’ rushed it to completion using view when Schreck came calling, hoping Given the rightfully exalted standing the production before Warner Brothers Originally from Minneapolis, substantially substandard animation to against hope that he might be able to that Richard Williams holds within the pulled the plug on it. Ashford has vivid Minnesota, Kevin Schreck is a young get it out the door. Such are the reefs that persuade Williams to participate in some community of animators, his influence memories of what it was like to work in the documentary filmmaker currently hearts and creative souls are shipwrecked way. on some of the most commercially studio. “The studio was like working in a living and working in Brooklyn, New upon, and by all accounts there were successful animated features and the cult”, he says frankly. “Dick Williams was York. Persistence of Vision is his first plenty of people who felt they had gone “We tried to reach him several times”, almost epic tragedy that infuses the story revered with a God-like status. Whenever feature-length film. down with Williams’ ship when the film recalls Schreck. “We had someone very behind his most audacious project that he was around, there were plenty of was wrenched from them. close to him ask for us and, once we consumed nearly a third of his life, it is sycophants following close behind. Most received a very clear message that he said interesting to contemplate his position mornings, there were rushes of whatever Pulling this story together must have no, I really felt terrible. I felt like I was some within the metaphorical animation hall of scenes were in progress. Most of the been quite a jigsaw. The first and obvious sort of tabloid journalist irritating this old fame. Schreck brings more insight to this studio was assembled in the screening question is WHY? Why embark on such man. It was almost enough to make me than many. “I think Mr Williams really is a room for these. Incredible work. Some of a project? “I was surprised to learn that, leave the project entirely, even though we master of his craft. He is a genuine artist”, which Dick would scrap on a whim; even for a story of such magnitude and drama, had just begun shooting in London. But offers Schreck. “One of our interviewees, though it may have been many months in nobody had ever told it in a single major my line producer, Sarah Taylor, very wisely Philip Pepper (an animator who worked production. Heartbreaking and demoralising work before”, says Kevin Schreck. “No said, ‘Of course he said no. But everybody on Williams’ magnum opus), says in the for the animation team involved. 48 49 UK Premiere (15) UK Premiere The Pain and Tito On Ice(15) The Pity at The Horse Hospital Mon 28 Oct 21:00 at The Horse Hospital Fri 1 Nov 19:00

Max Andersson & Helena Ahonen After a few decades I got bored and Phil Mulloy Director Biography Sweden/Germany, 2012, 76’00 turned to filmmaking. My first films UK, 2012, 80’00 were shot in 35mm color cinemascope Phil Mulloy worked as a writer and To promote their book Bosnian Flat with dolby stereo sound. As I got more The third – and presumably final director of live-action films until Dog, Swedish comics creators Max experienced I upgraded to 16 mm and – instalment in the mercurial the late 1980s before becoming an Andersson and Lars Sjunnesson tour mono sound. Finally I made a black and ‘Christies’ animated features by the animator. His animations often portray the countries of former Yugoslavia white super-8 silent movie. Then I returned equally mercurial bad boy of British the dark side of human nature and with a mummified Marshal Tito in a to comics. animation, Phil Mulloy. contemporary social, political, and refrigerator. religious values in a humorous and at I don’t know how to animate on the Mister Christie and the others return for times, shocking way. His visual style They encounter a number of characters computer. I missed the entire digital one last time to try and work out exactly is distinctive in its use of primitive, populating the post-Yugoslav indie cultural revolution in the film medium and have who they are. A serial killer is loose deep often skeletal figures and minimalist scene. As the journey continues through simply picked up where I left in 1990. under the streets of London. Raw, roughly backgrounds. Mulloy has made over increasingly improbable surroundings, Paradoxically, analogue craft has become hewn images knitted together with a 30 animated shorts and 4 features the protagonists begin to question so rare that it now appears as something unique system of narrative structuring, and has won many international themselves and the reality they find innovative and revolutionary.” bashed into existence using the tools and awards for his work. themselves in. Watching border controls resources of our age and plastered onto Max Andersson turn into improvised snapshot sessions, the big screen with the customary ‘take it admiring mutant iron-curtain Disney toys, Director Biography or leave it’ Mulloy energy. buying souvenir grenade shell handicrafts and discovering sniper art in blown-out Don’t be put off by the pre-occupation Described as “Europe’s Tim Burton”, apartments, they find that truth may with death, disorder and dissolution in Max Andersson is a world-famous indeed be stranger than fiction. Mulloy’s films. There is also a fiercely black cartoonist and filmmaker known for comic wit at work here. books such as Pixy and Death and A combination of stop-motion animation Candy. Tito on Ice is his first feature- and documentary scenes, the film If Disney is animation’s heart, length film. turns into a roller coaster ride through a then British animator Phil Mulloy parallel universe where all borders are is its bowels. Or maybe it’s the disintegrating – at the same time tragic, other way around. Very, very far from the poetic and hilariously funny. colourful cartoony world of bunny rabbits, cuddly ogres, and other assorted sexless I got into the comics medium wide-eyed moral crusaders who make early, around age four. I liked the the world safer and linear for us, are Phil smell of print almost as much Mulloy’s deceptively crude and intentionally as the smell of gasoline. I wanted to be primitive animation films.” a car mechanic but my parents insisted Chris Robinson on comics. My first strip was silent and ended with the protagonist being blown to Director Ottawa International pieces. Later I learned the alphabet. Animation Festival.

50 51 Consuming (15) Spirits at The Horse Hospital Sun 27 Oct 20:30

Christopher Sullivan It is easy to read this film as an allegory for USA, 136’00, 2012 post-1950s America. Happy mid-century days of post WWII victory and prosperity, Over a decade in the making, featuring new televisions with new shows Consuming Spirits is the hypnotic about the quirky-but-ordinary lives of the and elegiac first feature by award- Cleavers, Nelsons, and Taylors who lived winning animator Chris Sullivan. Set on clean streets in wide-open suburbs - in a dreary Rustbelt town, the film that’s long gone. Now, these Americans follows late-night radio host Earl Gray, live among the shattered remains of those wilting violet Jenny, who cares for her forgotten dreams, stuck in meaningless Retrospectives foul-mouthed, Alzheimer’s-stricken despair in which life feels like a broken mother and Jenny’s sometime record, repeating itself each day. That boyfriend Victor Blue, whose days is the feeling we get from these stories. teeter at the edge of sobriety. More than that, the animation itself, feeling homemade yet precisely calculated, One evening while driving home, Jenny carries us through this unhappy world hits a nun in full habit on the highway, -- one that might be stuck behind the setting off a string of events that reveal a trees, out past the last exit of the long lost long and twisty history among Jenny, Earl, highway. We know it is there, but we don’t and Victor, involving family dysfunction, want to think about it. Yet once we start foster care, and old wounds longing watching, it’s hard to stop. to heal. Sullivan’s intricate hand-drawn and cut-out animations telegraph his Consuming Spirits is a sad tale characters’ conflicting and complicated to remind us all that sadness emotions while depicting the minute is - in its own way -a beautiful tragedies and triumphs that make up a life. thing. It is adult animation at its best and most unique, and a film which exudes This film fills us with that sombre despair of the true spirit of American independent intoxication. Consuming Spirits speaks on filmmaking.” the one hand of a world where people live Ben Umstead, Twitch as shells going through habitual motions, as though they were ghosts in a ghostly So if you have been marked by land. On the other hand, they replace that A Confederacy of Dunces, John emptiness by consuming cheap liquor. It Kennedy Toole, and by the early feels like we are witnessing people at the novels of Stephen King, if you believe end of their lives. But as gloomy as this that at the end, Eraserhead is the most film is, we are not. No, these are people beautiful film by David Lynch, and finally moving along in suspended animation, as if you are convinced that the bowels of though time has long since taken its toll industrial America are well worth the skins on their world. We recall Robert Altman’s shining on both sides, go see Consuming “Come back to the Five and Dime, Jimmy Spirits.” Dean Jimmy Dean,” watching small people in a small hamlet, ignored by the Thomas Sotinel, World France universe, yet managing to live in some sort of frozen, cobweb-infested imagination.

52 53 Dark and harrowing, hilarious and irreverent, thought-provoking and lyrical, Ülo’s films are powerful visualisations of the animated form.

‘Bermuda’ Estonia, 1998, 11’10 Director Ülo Pikkov

Bermuda Estonia, 1998, 11’10 A dreamy love triangle between a mermaid, a sailor with a wooden leg and a flute- playing centaur, who live among the sand Taste of Life Body Memory dunes of a desert landscape. Ülo’s debut Estonia, 2006, 11’15 Estonia, 2011, 10’00 hand-drawn film is full of charm and wit, in equal measures, and never fails to delight. Extreme massage as a metaphor for the Many memories dangle by the finest of big issues of life. A truly bizarre film that will threads, which are being pulled by forces Director Ülo Pikkov (15) tie you in knots. out of sight and out of control. Ülo Pikkov Director Ülo Pikkov Director Ülo Pikkov Retrospective at Barbican Sat 26 October 21:00

A retrospective of multi award- As well as producing a distinct and highly The Headless Horseman winning Estonian animator Ülo acclaimed body of work over almost Estonia, 2001, 11’00 Pikkov’s body of work. twenty years, made exclusively at Eesti A story of a solitary and brutal hero from Joonisfilm and Nuku Film studios in Tallin, the Grand Canyon, a horseman without a Ülo’s films are extremely varied stylistically he is also the founder and associate head. – from the kind of illustration you would professor of the Animation Department Director Ülo Pikkov expect to see in a colourful children’s of the Estonian Academy of the Arts, the Dialogues The End book, in his debut filmBermuda (1998) manager and producer for documentary Estonia, 2008, 5’00 Estonia, 2012, 5’40 – to the more surreal and disturbing and animation film at his company imagery of The Headless Horseman Silmviburlane and the author of the 2010 A chaotic, visceral film pointing the It is said a dying man sees his life racing (2001). The early shorts have a strong book Animasophy: Theoretical Writings on finger – in a mocking and absurd way – at before his eyes. What does a 100-year-old contemporary, high-tech society. film strip see before it gives way to the narrative, such as The Year of the Monkey the Animated Film. digital realm? Broken frames, scratched (2003), in which a monkey leaves the zoo Director Ülo Pikkov filmstock or something else? and achieves virtually instant success in Dark and harrowing, hilarious and everything he puts his hand to (as a ski irreverent, thought-provoking and lyrical, Director Ülo Pikkov jumper and a rock star, for example), but Ülo’s films are powerful visualisations of in recent years his work appears to be the animated form. departing from a more obvious narrative, The Year of the Monkey such as in Body Memory (2011), an Estonia, 2003, 12’00 extremely striking and disturbing stop- By the will of fate, a monkey who lives motion animation where human figures in the Zoo is forced to start living like a made of string are confined in a box and human being. The monkey is mistaken for gradually unravelled by invisible outside a drunken Santa Claus and is taken to a forces. detox-centre. Will human society accept its new member? Director Ülo Pikkov

Special thanks to

54 5555 Special thanks to

(15) Platige Image 3D at Barbican Thu 31 Oct 19:00 The Cathedral The Great Escape Cyberpunk 2077 Jan Matejko’s Battle of Poland, 2002, 6’00 Poland, 2006, 6’00 Poland, 2013, 2’10 Grunwald (3D) An ethereal journey through a structure of The REAL news behind the weather. A From the Platige Image games division Poland, 2010, 4’00 In existence for a mere 15 years, made in 3D stereoscopic were all made 40 infinite intrigue. running battle between the elements and comes this amazing Bladerunner-esque A spellbinding digital rendition of Jan Poland’s Platige Image studio has or 50 years ago and Vincent Price nailed the Director Tomek Baginski technology. trailer – a female android faces off against Matejko’s massive mural. produced a truly impressive collection artform. That said, every second time I roll armed police. Director Damian Nenow Director Tomek Baginski of short films and commercials. One of through the National Film Board in Montreal Director Tomek Baginski its very first short films,The Cathedral and see what they are doing with their (2002) was nominated for an Academy SANDE system I take notice. Award and virtually every one of its shorts since then has gone on to win But what Platige Image is doing in 3D is awards and near-universal acclaim. happening on a whole different level. They screened an example of an aerial ‘photo Ola Watras is responsible for studio diorama’ of an utterly destroyed Warsaw promotion, including commercial, animated in the immediate aftermath of World and special projects - such as game War II. This aerial overpass was created cinematics like The Witcher series and using more than 1,500 different photos Cyberpunk 2077 at Platige Image. A matrixed, reconstituted and amalgamated passion for art and new technology and a to reproduce an astounding representation background in marketing and development of a city that had been razed to nothing at a number of studios, helps her actively more than smouldering rubble, sheltering a promote projects that mix animation with populace that had been reduced from about many different areas such as design, 1.7million to around 1,000. The overall effect architecture, video mapping and 3D printing. was less to do with viewing this molecular Fallen Art The Witcher 2: Assassins of Another Day in the Life Animated History of Poland destruction of a great city and more about Poland, 2005, 6’00 Kings Intro Trailer (3D) In 2010 MIAF co-director Malcolm finding oneself being parachuted directly into The ingenious cruelty of a machine Poland, 2011, 4’00 Poland, 2013, 3’40 Poland, 2010, 8’00 Turner visited Platige Image studios the midst of it. I’ve never been exposed to designed to capture an alternative version A superb and chilling teaser for one of the Awe-inspiring trailer for the forthcoming Two thousand years squeezed into eight in Warsaw. Here are his recollections: this kind of destruction in a place I’ve lived of the cinematic moving image. most polished pieces of gaming animation feature film ‘Another day in the Life’ minutes. A high-speed visual chronology of Platige Image is showing the world how and the experience profoundly shocked me Director Tomek Baginski so far created. based on the memoirs of Polish war the creation of modern Poland. to make CG animation. And they’ve been – I can’t begin to imagine what the average Directors Tomek Baginski & Maciej correspondent Ryszard Kapuscinski and Director Tomek Baginski doing that for a fair while. Fallen Art (2004) (or an older) Pole must feel as they watch this. Jackiewicz the civil war in Angola in 1975. is one of LIAF’s all time favourite films. Director Damian Nenow They won an Oscar for Cathedral and LIAF Another example was the 3D stereoscopic regulars will remember seeing films such as recreation of a giant painted mural slated Teaching Infinity, Moloch, Undo, Mantis, The for two years of restoration. Rather than Kinematograph, Ark and Paths Of Hate. have this national treasure disappear from public view altogether during the restorative Their work is a beacon for what CG process, its guardians commissioned Platige animation is capable of – intensely rich Image to digitally recreate it. Under their 3D visuals, cliché-free zones, robust characters animation process, this giant, iconic artwork and risky, nuanced, sometimes utterly comes to life; it takes on flesh, texture and a fearless plots. Platige Image has basically pulsing life that has to be experienced to be created an altar that any fan should visit believed. from time to time to reconnect with the most righteous examples of the artform. Polish animation! What can you say? Ark Teaching Infinity Paths of Hate (3D) City of Ruins (3D) Poland, 2007, 8’00 Poland, 2008, 15’00 Poland, 2010, 10’00 Poland, 2010, 5’00 Whether it’s past masters, stunning Their studio is part of a larger commercial contemporary practitioners or a small galaxy A vast ship with a confused human cargo Easier to do than you might think, and just A simply astounding testament to the A heart-wrenching digital recreation of estate hidden behind a fairly narrow, of superb studios – this country is one of plots a course to challenge the inevitable. as exciting. An amazing blaze of images madness of war. a devastated Warsaw in the immediate unpromising looking entrance that is pretty the great centres of animation and Platige Director Grzegorz Jonkajtys that draw from a vast imaginative reservoir. Director Damian Nenow aftermath of World War 2. easy to roll past. But the horizontal traverse is Image is pushing at the boundaries as we zip Directors Bartek Kik & Jakub Jablonski Director Damian Nenow worth the trouble. through the 21st century.

The technicians at Platige Image have custom built their cinema to convert it – with a brief flurry of spring-loaded activity – from a 2D to a 3D screening facility. What followed was a collection of 3D works unlike anything I’ve ever seen before. In general, I don’t have much stomach for the whole 3D stereoscopic thing. The greatest movies ever

56 57 Sacrebleu’s animated shorts have achieved several thousand screenings and won over 500 awards including the Palme d’or, Silver Bear and the much coveted Annecy Cristal.

Ron Dyens Imago Moi My Little Brother From The France, 2005, 11’38 France, 2012, 5’35 Moon (15) Dream and reality merge across the A mesmerising and intensely personal France, 2008, 6’00 generations when a young boy wills himself meander through the very centre of a man Sometimes it’s just about perspective. into the skies to fly beside the father he lost who is trying to understand who and what A young girl tries to understand why her to a plane crash many years earlier. he is. autistic brother doesn’t seem to like other Sacrebleu Director Cedric Babouche Director Ines Sedan kids. Productions Director Frederic Philibert at Barbican Sat 26 October 14:00

For the entire time we have been Between those points on Sacrebleu’s But perhaps the animator that is most running LIAF we have been happily trajectory axis sit many achievements. associated with Sacrebleu is Bastien screening films from Sacrebleu As well as a substantial catalogue of live Dubois. A Supinfocom alumni, Dubois’ Productions in Paris. Every year we action-shorts, Sacrebleu Productions 2010 graduate filmMadagascar, A call for entries and, like some quietly has gifted us more than 50 outstanding Journey Diary (Madagascar, Carnet de colourful animated songbird, a small animated shorts, an absorbing full length Voyage) was one of the most successful Madagascar: A Journal Where Dogs Die The Man Is The Only Bird package of their latest releases documentary charting the history of short animated films the year it was Diary France, 2011, 12’05 That Carries His Own Cage seems to arrive on the migratory experimental animation from both sides released, screening in almost every France, 2009, 11’04 A superbly atmospheric sand animation France, 2008, 12’40 winds from across the channel. In of the Atlantic and a 60 episode series of festival it was entered into including a An intriguing animated scrapbook conjured exploring the ultra-sixth sense that dogs Even in an oddly uniform world of many ways, LIAF was established to animated artworks exploring the humanity rave reception at that year’s Sundance up by Supinfocom alumni Bastien seem to possess about sadness and universally caged-head people, one man screen the kinds of animated work expressed in the faces of people on Film Festival. It even garnered an Oscar Dubois cataloguing his journey through death. discovers a path out and a new way to live. that Sacrebleu produces and herald almost every continent on the planet. nomination. Madagascar the best way he knows how – Director Svetlana Filippova Director Claude Weiss the kinds of artists that are attracted There is a colossal gallery exhibition drawn multimedia animation. by the creative philosophy that makes from that project and a feature film that I could also talk Director Bastien Dubois Sacrebleu a very special and enduring is travelling down the bumpy tracks that part of the European animation most features must traverse as they force about his kindness. ecosystem. themselves to fruition. The projects he Established in 1999 by Ron Dyens, the Dyens’ seems to gleefully describe himself suggests fill me with studio was an almost accidental outcome as a “funambulist of the cinema” and “ enthusiasm, so I want of Dyens’ burning, impassioned desire hopes it will always stay that way. He to make a film crashing head-on into called his studio Sacrebleu because “it’s a to produce them. Life the real-world rockwall of a production positive curse, which means damn! There is simple sometimes. community that would not take his calls, is a problem, we need a solution!”. let alone search out financial resources to help him realise his dream. Filmmaking Along the way, Sacrebleu’s animated La Loup Blanc The Routine Tram also seemed a better career option than shorts have achieved several thousand Dubois’ astonishing ability to seamlessly France, 2006, 8’16 France, 2003, 5’21 France, 2012, 7’47 the business communication industry screenings and won over 500 awards meld classic hand sketching and water One day a child manages the impossible A man escapes from the routine and finds A voluptuously sultry tram ride resplendent which he had studied hard to enter but did including the Palme d’or, Silver Bear and colouring techniques with state of the art – to tame a giant white wolf. Life couldn’t himself soaring through a world beyond in all its wondrously esoteric wobbliness. not cater to his lack of desire to embrace the much coveted Annecy Cristal. The digital filmmaking technologies make him be better until one day his father brings anything his most enpowering dreams One of the big hits of this year’s festival mornings. roster of fellow travellers on this journey a filmmaker capable of effortlessly crafting home an even stranger, more dangerous could have offered him. circuit. – Sacrebleu’s animation directors – reads films that utilise the very best of old and creature. Director Cedric Babouche Director Michaela Pavlatova “I was mad, so I created Sacrebleu,” like an invitation list to every animation new. His keen, yet subtly expressed, Director Pierre-Luc Granjon Dyens says simply. festival director’s dream dinner party. Ines observational eye blended with a naturally Sedan, Svetlana Filipova, Serge Avedikian, curious spirit allow him to amplify those “In the end, my movie wasn’t selected Simone Massi, Claude Weiss, Frederic skills to craft films with often exquisite in any festivals, I didn’t have any more Philibert and Pierre-Luc Granjon are a narratives, as often as not giving an money and I had to take care of a new few of the animators who have made audience a fresh look at his subjects – a production company, and I had no idea superb films under Sacrebleu’s roof over determinedly understated window into a of how it worked...”, his remarks tapering the years. Most recently, Czech animator world we only think we know. off, letting the image of a bustling studio Michaela Pavlatova produced her latest hit and an office nowadays adorned with filmTram there, a film that has won more “I like his freshness, his curiosity and posters and trophies speak to the success awards and had more audiences cheering his level of requirement”, Dyens says of his adventure into film and animation through the credits than can be readily enthusiastically of Dubois, even if production. counted. ‘requirement’ loses something in the (continued page 60)

58 59 translating. “I could also talk about his Inevitably, though, it comes down a bit less in a couple of years because kindness. The projects he suggests fill me to the money. Fine art, grand ideals we really have a lot of projects right now. with enthusiasm, so I want to produce and enchanting artistic collaborative But… you know… they are so great …” them. Life is simple sometimes”. relationships exist in the idealistic world of the possible but it takes a certain amount Up close, Dyens’ quiet passion is hard to It was Dubois who has overseen and of money on the table to really get the immediately spot as the original flint-spark crafted one of Sacrebleu’s most ambitious game underway. that ignites the fire to create these films but productions to date. Faces For Places can one does not need to be in his company only really be described as an odyssey. Ron Dyens, filmmaker, has gone on very long before it is hard to imagine him Under Dubois’ exacting eye, a small army to greater successes since his first doing anything else. As the conversation of artists spent 10 hours a day, six days a unscreened artistic foray but the legacy of closes, papers gathered, bags packed week for eight months hand painting more Ron Dyens, producer, will almost certainly and farewell handshakes given, the parting than 25,000 images to bring to cinematic be his ability to muster the resources to question – “could you imagine doing life something of the souls behind the keep the lights burning at Sacrebleu. He anything else?” is met with “only when I’m faces of sixty different people from a has seen the funding models change, asleep”. It has the ring of truth. myriad of cultures which Dubois had the business opportunities both grow captured on an epic modern-day creative and whither and the lingua-franca of the We did our best. This is about as close expedition. production funding alter inextricably. And as we could come to understanding quickly. Sacrebleu’s secret sauce. The films remain This project captures something special Exhibit A – let’s let them do the talking. about the DNA of Sacrebleu Productions. It is difficult to categorise the finished It’s a great idea, and ‘films’. Part animated short, part moving a great project made image gallery artwork, part artisan observational exercise they were made in a very short time, because making them seemed like a great that’s why everybody idea and the right thing to do. “ was very motivated. “It’s a great idea, and a great project made in a very short time, that’s why everybody was very motivated” says Dyens, probably “I remember during the 2011 Clermont unintentionally veering into the realm of Ferrand festival, my filmThe Flame had understatement. “It’s a collection (of films) been selected, and I was signing license about people’s lives, about travels, and contracts with the TV channels during the Special about struggle against standardization. festival, which is unthinkable today”, he Mixing so many different techniques says. “When I started, the producers didn’t is obviously the consequence of that pay the directors, nor the technicians. struggle against standardization”. There was less money, but short film was Programmes not an end in itself”. Just how Sacrebleu manages to produce gem after gem is a difficult thing to “Now, there is more money, it’s a real quantify. While the studio space exudes a business, but money is harder to obtain fairly calm, unstressed aura, it also does because there are more producers and not necessarily automatically register as more directors. The most difficult thing a space that instantly inspires unbridled today is to establish trust with the financial outpourings of creative output. There is sources, to look for good directors and”, no particularly identifiable Sacrebleu ‘style’ he adds, pointing to the fact that the more nor even a preferred studio technique. things change, the more they stay the Dyens himself won’t be drawn on what his same, “first and foremost, there is a huge favourite technique is, simply answering amount of administrative work”! the question with a proclamation that “I just like beautiful images”. Still, the future seems as assured for Sacrebleu Productions as it can possibly Somehow the magic must come – as it be. They have Longway North, a feature so often does – from the alchemal mix of film at a reasonably advanced state of the people that find themselves working production, keeping them busy. And the within the studio. Attempting to mine this inevitable struggle to balance all of the particular seam for the illuminating gold projects they might want to do with the bullion answers is about as close as it financial and human resources available to comes to getting an insight from Dyens complete them plays out in Sacrebleu as it as to how he attracts this kind of talent to does in many production houses. his studio and nurtures them to produce some of their best work. “We are working on two series, and also on coproduction projects for feature “Relationship”, is his one word summary. films and on five short films”, Dyens says “But it doesn’t always work, as it’s a matter-of-factly, before another open- relationship that has to be built over ended sentence steers the conversation the long term. When it does work, it’s towards the blue sky horizon that he sees wonderful”. for Sacrebleu. “I hope these projects will see the light of day and that we’ll work 60 61 (15) Animated Spirit Of Drat Canada, Canadian Self Portraits Bluebird 2010, 10’56 Canada, 2012, 8’40 Canada, 2010, 5’45 The night has a The perfect When the killer of thousand eyes, a Indie Showcase kickstart to this indigenous woman million whispers 1 program. An amazing animated who’s- Gloria Black Plume-Bird was acquitted on and an infinity that stretches beyond the at The Horse Hospital Sat 26 Oct 19:00 who gallery of some of the most iconic a legal technicality, her friends responded echoes of footsteps in the dark. independent Canadian animators drawn by gathering at the place of her slaying Director Farzin Farzaneh Canada is such a critical component of in 1984 and have built up an impressive that moves’. Definitely worth a look if you are by the animators themselves in their own and crafting this simple, affecting animated the world’s auteur animation ecosystem. collection of equipment their members can in the neighbourhood. individually unique styles. tribute and biography to her. And it breaks down into three basic use to make films, an extensive library on Director Madi Piller Director Xstine Cook types. The National Film Board of Canadian animation and even stage their Over on the west coast, Jeff Chiba Stearns Canada is a massive cultural institution own festival, GIRAF, in late October each brings his own unique energy to the indie that really has no equivalent anywhere year. Their alumni is an impressive roll call of animation scene. His Vancouver studio, Machine Somnium Gains And in the world. Charged with nothing less Canadian animators and includes people like Meditating Bunny, proudly sports the slogan Canada, 2010, 2’19 Canada, 2011, 2’42 Losses than ensuring the vibrant continuance of Richard Reeves, Don Best, Carol Beecher, “keeping animation old school since 2001” Obom to her Latin for ‘dream’, Canada, 2011, 2’31 Canada’s cinematic and moving image Kevin D.A. Kurytnik, Sandra Law, Kim and says a lot about his credentials as a friends and fans, Somnium We all make culture – in all it’s forms – the NFB does Anderson and Scott Higgs. full member of the Canadian indie club. His her films and reaches out to bad decisions a stunning job of doing what the ‘market new film,Yellow Sticky Notes is a fantastic illustration work spans decades. Her work all people as a modern creation myth some days. It’s hard to be rational when place’ has no hope or interest in doing. A long weekend spent ensconced in the ‘anijam’ style exercise in animated madness is free spirited, takes risks and doesn’t drawing on influences as diverse as everything feels like fire. seem to mind not quite making sense African tribal masks, 60’s psychedelia and Canada also has a strong collection of QAS library sifting through a veritable that attracted a large roster of other Director Leslie Supnet sometimes. It pushes the synapses to contemporary graphic design. tertiary level education institutions such mountain of VHS cassettes, ¾” tape, reels animators to the flame. come to their own conclusions. as Sheridan, Emily Carr, Vancouver Film of 16mm and 35mm film prints and DVDs is Directors Noah Wohl & Nima Ehtemam School, Mel Hoppenheim, Algonquin, enough to warm the heart of any animation Perhaps one of the most beautiful films in Director Diane Obomsawin ICARI and VanArts to name but a historian up to about the toffee setting. this showcase is Jonathan Amitay’s Dancing few. And, of course, the third string Reading through the minutes of meetings With Northern Lights. Amitay is a master in the Canadian animation bow is the and going over their old posters and promo sand animator and this film is one of his Traces Of The Myth Thunder Canada, disparate army of truly independent material brings into a kind of grainy focus finest. Those lucky enough to have ever seen Joy of Robo River Canada, 2011, 7’41 2011, 7’54 animators. Indie Canadian animation is just what an uber-passionate community of the Northern Lights (or aurora borealis) play Wonder Kid Canada, 2012, 3’00 a rich vein that has threaded through artists can do when they put their minds to it. will readily grasp the sheer, majestic mastery Tran puts the One of Canada’s the competition programs of successive with which he has captured this phenomena crystal clarity of 3D Crazy, eye- truly iconic LIAFs since we started. For a period in the mid 2000s, the emphasis using little more than coloured sand. In a CG animation to the task of depicting the popping forces are unleashed when an experimental animators focuses on the had shifted away from supporting indie career that has spanned more than 40 years, gritty and ambiguous reality confornting experiment to create a Wonder Kid takes patterns of nature as he sees them in the kids seeking life’s simplest joys on the cracks and crevices of the world around One of the interesting things about the indie filmmakers to make their own films towards if this film proves to be Amitay’s curtain call it an explosively unexpected turn or two. wrong side of the social dividing line. him. Canadian landscape is the way that, in running courses that might attract funding will stand as a classic example of just what a Director Joel Mackenzie some cases, they have managed to create largesse. But a return to mission has been magical artform animation can be. Director Jeff Tran Director Pierre Hebert or generate supportive ‘collectives’ around the order of the day there for some time and which they gather common resources such many of the original QAS crew are back on And finally, no showcase of indie Canadian as space and equipment as well as some board. animation would be complete without Gluttony Frenching The Empress at least one film by Steven Woloshen. admin firepower to help get their films out (Family Visit) Canada, 2011, 4’05 Canada, 2009, 8’25 Prolific, restlessly irrepressible and with into the big wide world. A handful of the latest generation of QAS Canada, 2011, 2’17 based filmmakers have found their way into a sure grasp of the very fundamentals of An innocent savant A stop-motion film abroad in his own of outstanding Organisations such as the Toronto Animated these programmes. Business As Usual is animation, Woloshen never disappoints. Gluttony: The sin of excess. Witness a country takes up intricacy and detail Image Society (TAIS). Formed in 1984, TAIS the latest film by Carol Beecher and Kevin His latest filmCrossing Victoria is a family visit where food fills all the unspoken every opposite opportunity presented to following the emotional shadow boxing has been supporting independent animators D.A. Kurytnik, two of the most significant something of a departure from his more holes. get under the skin of his French speaking that goes on when two lonely strangers through a variety of mechanisms. A tour contributors to the success of QAS. Hold by commonly recognisable cameraless (or compatriots. meet in a seedy bar. of the lovely old building that houses them Kim Anderson showcases a film by a brand ‘scratch’) animation style. Black and white Director Ann Marie Fleming Director JC Little Director Lyle Pisio reveals a happily cramped office space and new generation of Calgarian filmmakers and employing a form of video montage, basement studio area that could just about that call QAS home. And C’est La Vie is Woloshen has ‘re-animated’ abstract live- pass as part museum. In these spaces a collaborative film made to pay tribute to action footage of a journey around part of independent animators come to make their one of the organisation’s more influential Montreal. own films using TAIS equipment and the members, Chris Melnychuk. It’s a kind of It’s The A Girl organisation itself also seeks resources to collaborative cottage industry on a grand The Canadian indie animation scene is Good Life Named run specific projects that its members can scale. about as diverse as it gets. Its card carrying Canada, 2012, 4’27 Elastika take part in. members have found a plethora of ways We’ll buy anything Canada, 2011, 3’29 Calgary is also home to Xtine Cook, a to create their work and develop their to appease our A way-cool, uber- Head of TAIS, Madi Pillar, created the film filmmaker with an unwavering commitment careers. Motivations, techniques and genres hunger for self-worth. And the world of clever little tale about a girl on the move that has proved to be the best possible to showcasing Canadian indigenous art in a are as broad as the land. The intensely retails that envelopes us all is only too proving that imagination is still the magic introduction for this showcase - Animated variety of genres, including animation. What vital history of animating in Canada must delighted to feed that craving. ingredient in a great film. Self Portraits. Eighty or so independent her latest filmSpirit Of Bluebird lacks in slick have something to do with how many Director Sharon Katz Director Guillaume Blanchet Canadian animators had created short animation technique it makes up for in soulful independent animators create films there animated self portraits of themselves in connectedness with the slain indigenous but common threads are elusive. There is no their own style and Madi had found a way woman it pays tribute to, the extended family particular style, there is not much that makes to knit these together into a fabulous visual caught in the cycle of grief and injustice any of their works immediately recognisable catalogue of the community of filmmakers and the indigenous artists who worked on as members of the Canadian indie club.... these programmes celebrate. the imagery that makes up the film. Cook and long may it be so. also runs one of the more interesting arts Another organisation with a similar agenda organisations, the Calgary Animated Object is the Quickdraw Animation Society (QAS) Society (or CAOS) which annually delivers up based in Calgary. Like TAIS they formed an eye wateringly bewildering array of ‘stuff 62 63 (15) (15) Canadian NFB 3D Indie Showcase Stereoscopic Films 2 Subconscious Password at The Horse Hospital Sat 26 Oct 21:00 at Barbican Wed 30 October 21:00 Canada, 2013, 11’00 The National Film Board of Canada the theme of this work is set in a very real, The absurd misadventures of Charles, Dancing with Figment Car a friendly kind of guy who meets up Northern Canada, 2011, 4’16 Cemetery has been experimenting with 3D frighteningly identifiable world rather than stereoscopic animation longer simply in a more dismissible imagined with someone whose name completely Lights A crazed look at Canada, 2011, 1’00 escapes him. than almost anybody. Their earliest abstract space. His latest film,Gloria Canada, 2009, 2’33 a fractured world A sublimely experiments date back to the 1950’s Victoria, blends these two environments and Director Chris Landreth Seldom has as seen through raucous visual when the legendary Norman McLaren changes the aural template from something coloured sand animation been put to a porthole of a really cracked and broken poem celebrating the golden age of the like ‘strident, full volume Soviette’ to ‘punk better use in this joyously visual piece mind. motor car relayed from the vantage point of created Around Is Around and Now Is The Time in full 3D stereoscopic on classique’; terms currently awaiting approval that seamlessly blends native dance Director Craig Marshall where many of them have wound up. 35mm film. by the United Nations Committee On Film movements with a spectacular depiction of Directors DJXLS, Francis Theberge & Festival Essay Eruditality (UN-COFFEE for the northern lights. Daniel Faubert A more recent incarnation of these short). Director Jonathan Amitay experiments is the creation of the NFB’s Interoculus C’est La Vie The Equality Agape Stereo Lab unit. Part production studio, Chris Landreth needs no introduction here Canada, 2010, 1’20 part pure research and development at LIAF. His earlier works such as Bingo, The Chris J. Effect Canada, 2012, 3’18 In an infinitely vast space a man, a woman facility, touring it is a fascinating and often The Spine and, of course, the benchmark and a fish illustrate a flow of questions Melnychuk Canada, 2010, 2’42 The Greek word Story unpredictable experience. filmRyan each raised the CG bar when about perception. A simple and for love, although they were released. The very good news is Plato extended it to Director Marie Valade Canada, 2011, 6’54 compelling Head of the NFB Stereo Lab, Munro that Munro has been able to include Chris’s expose on the dehumanising inequality embrace a love of truth or humanity. A colourfully poignant, often funny, Ferguson, knows this technology better than very latest filmSubconscious Password that threatens the lives of women in many collective QAS tribute to animator Chris Director Alexandre Iliach probably anybody else. Munro has been into this line up. A master navigator of the societies. J. Melnychuk whose voice will not be instrumental in the development of the NFB’s human psyche and its inevitable, but wily silenced. Director Andrea Dorfman own SANDDE (Stereoscopic Animation and unpredictable self-sabotaging short Director QAS Collective Drawing DEvice) system and in earlier days circuits, Landreth has inserted himself into worked on this with Roman Kroiter, one of the story, placing some of his own psychic The Interview Zap Girl Yellow The Fox and the original founders of the IMAX film format short circuitings on the operating block for Canada, 2010, 2’10 Makes Toast Sticky Notes Chickadee who passed away in 2012. It was Munro exploratorial surgical analysis. And we all Canada, 2007, 1’35 – Canadian Canada, 2012, 7’45 who chose the films in this programme and have ringside seats to the excoriation. It’s Racial stereotypes and prejudices deprive Anijam has, at one level or another, been involved in quite a ride and is Landreth doing the two a highly qualified candidate of a fair A plug, a toaster, A fairly grown up interview. some bare wires Canada, 2013, 7’40 sort of fairytale their development and production. things he does best – exploring what we are + animating the hell out of it. Director Claire Blanchet and some fingers – they don’t call her Zap Fifteen celebrated independent Canadian about a hungry fox and a wily little bird who Girl for nothing. animators collaborate here to create needs to get away. It opens in fine style withMoon Man. The main fact you need to know as you watch This program is where the promise of Director Chris J. Melnychuk a sometimes crazed, sometimes Director Evan DeRushie introspective meditation on what they see Moon Man is that a “Newfie” is a person 3D stereoscopic comes together. It at the biggest and littlest things in life using from Newfoundland, the chilly, sparsely may change, but right now creating 3D the medium of yellow Post-It Notes. populated most eastern extremity of Canada stereoscopic animation is expensive and is a Director Jeff Chiba Stearns populated by a hardy, pragmatic people who technologically fraught exercise. This doesn’t speak with something approaching their own just work to withhold it from the hands of the The Wobble Incident Business As The Perfect Crossing dialect and who either learn to live within vast majority of auteur filmmakers who might Canada, 2009, 4’08 the environmental constraints of their land want to work in the 3D stereoscopic space, Usual Detonator Victoria When the First Sound rings out in a silent Canada, 2010, 4’00 Canada, 2011, Canada, 2013, 4’00 or perish. This film comes complete with a but closes out anybody who might wish cartoon world, two characters experience contagiously simple sing-song soundtrack. to develop a project other than within the An animated 10’09 A journey momentous change as their universe goes relatively tiny minority of organisations that calaveras (or poem A lumbering, spectucularly bananas. An extraordinarily special element of the complete these works – which, by and large, written for Mexico’s Day Of The Dead destructive machine lumbers through the broken down to it’s most basic visual Directors Claire Blanchet & Sam Vipond programme is the fact that we will get are organisations that have a narrow view of celebrations) taking a darkly comic look at forest piloted by a frightened slave crew and aural elements by one of the modern life in the city circa 2110. who find escape in the wake of a small red masters of cameraless animation. to see not just the final and latest film in its value and need to get it to dance on its Theodore Ushev’s trilogy of 3D stereoscopic hind legs to pay for its supper. Directors Carol Beecher & Kevin D.A. bird. Director Steven Woloshen works, but the entire trio, back to back Kurytnik Director Jay White in all their glory. The first film of the trilogy, The National Film Board of Canada beats Tower Bawher (2005), is a “whirlwind tour that paradigm. Return on investment is Hold Little Labyrinth of Russian constructivist art celebrating the measured differently there. And it has the Canada, 2012, 3’18 Canada, 2008, 8’41 Theatres – genius of constructivist artists, while also equipment. It is a place where auteurs and Marvin Parson Inner Wild A reminder that we Homage To A surrealist, film- offering a scathing commentary on art in artists have a fighting chance of receiving the Wilderness live in a world that The Mineral noir paint-on-glass the service of ideology” (Holland Animation support and resourcing they need to achieve Canada, 2010, 1’26 can be viewed a Of Cabbage epic following Film Festival notes). Ushev made this in their creative visions. There is a LOT to be A weird and wacky safari through the Canada, 2010, 4’47 hundred different ways. a detective’s strange encounters with about a month and while it’s native format said for that and this programme is the best jungle that is the human digestive system. mysterious phenomena from the dark-side. Director Kim Anderson A pathway to an intensely esoteric version is 2D, it’s translation to 3D stereoscopic has chance we will have of seeing just what 3D Director Fred Casia of enlightenment using the humble Director Patrick Jenkins produced a runaway freight train of a film stereoscopic can do when the deadweight cabbage as the hook on which to hang a with an audacious visuality. The second film, of commercial imperatives is cut loose. the leading proclamations and exultations. Drux Flux (2008) picks up where the first Director Stephanie Dudley left off introducing a rolling post industrial apocalyptical photographic montage into Special thanks to the visual mix, driving home the point that

64 65 66 Director from to something completely different. An eerie mystical journey from the human Canada, 2010, 1’27 Blind Evolution Director guides her through the messy ritual. the presence of her grandmother, who tradition of making pierogies, she invokes daydreams while clumsily performing the As a young woman finds herself lost in Canada, 2010, 1’26 Pierogi Pinch Director order to connect and find a way out. other and have to overcome their fear in separately to escape, they discover each Two prisoners are trapped in a void. Trying Canada, 2010, 1’26 Reflexion Director foliage. transporting her to a lush place full of green altered suddenly by a beat within herself, wintry urban landscape, her world view A myopic woman walks through a Canada, 2010, 1’23 Unlaced Zane Kozak Kiarra Albina Greg Labute A. Megan Turnbull Director placement. of jostling smart design and perfect Geometry meets fine art in this tango Canada, 2005, 3’45 Tower Bawher Director trip on the Milky Way. Newfoundland history after a lucky fishing the story of Codfish Dan who made sung by Stompin’ Tom Connors – telling Inspired by the song ‘Moon Man Newfie’ Canada, 2004, 3’33 Moon Man Director machinery, construction and destruction. An angry musical collage dealing with Canada, 2008, 4’45 Drux Flux Director mentor. featuring 6 filmmakers, the producers and Hothouse 6 3D stereoscopic scheme A fun, behind-the-scenes look at the Canada, 2010, 2’12 Scene Hot House 6 Behind The Theodore Ushev Paul Morstad Theodore Ushev Jelena Popovic Director have hands, feet or ears. Matthew has eyes where other people only Since he’s been in darkness all his life, Director Prometheus. evolution and the myths of Narcissus and heat, and inspired by Darwin’s theory of of the dancers using only their body thermographically, capturing images An experimental 3D dance film filmed Director explosive. meeting of their occupants promises to be directions careen around sharp curves, the When two cars travelling in opposite Canada, 2003, 2’55 Falling in Love Again Private Eyes Ora Gloria Victoria June Director and reapers keep moving. black birds fly over graves while vampires Revolution, and Dresden to Guernica, great From the Russian front to the Chinese Director Kronos Quartet. to a score by Philip Glass performed by the like a 3D abstract painting that moves set and filmmaker Joyce June Weiland, June is Made in the memory of Canadian artist Canada, 2011, 15’00 Canada, 2013, 4’00 Nicola Lemay Philippe Baylaucq Munro Ferguson Theodore Ushev Munro Ferguson Canada, 2011, 14’22 Canada, 2013, 6’55

® Design / JOÃO MACHADO 10 Horror (15) The Cat With Hands Chernokids Animations UK, 2001, 4’00 France, 2010, 6’55 The story of a cat who, legend has it, longs 20 years on and not all is right with the at Barbican Thu 31 October 21:00 to be human. kids who were caught up in the aftermath Director Robert Morgan of Chernobyl. A few too many eyes, for a start. Horror! At its most profound; its most our very eyes, brings readily to mind how Directors Marion Petegnief, Matthieu clenching and suffocating foundation, simple it is for lives to be destroyed at the Bernadat, Nils Boussuge, Florence Ciuccoli horror is fundamentally a state of whim of the gods who apparently amuse & Clément Deltour mind. Experienced at full volume, themselves by prodding our weaknesses Face The Smaller Room horror grips the brain and ignites with sharp sticks. France, 2007, 5’45 Switzerland, 2009, 2’20 some of the simplest animal-level A twisted, spectacular piece of grotesquery “In a room there is a box. In the box there emotions and responses that have Chris Shepherd unearths some of the focusing on a face trapped in a dangerous is a forest. In the forest there is a lost child.” been hardwired into our circuitry same decomposing skeletons in his 2002 prison of the mind. since before we could see, hear or classic Dad’s Dead. The thoughtless, Directors Nina Wehrle & Cristobal Leon Director Hendrick Dusollier think, shutting down most other almost unspeakably cruel and casual functions in the process. Different violence of the main protagonist is than ‘frightening’, horror forces itself frightening. But coming to realise that any into our minds like a poisonous gas one of us, or our kids or somebody very Son of Satan that seeps in, no matter how carefully close to us could have been dragged into USA, 2005, 12’05 The Wake we try to stop the gaps. this psychopath’s gravity field as the film’s Music by Iggy Pop and Beethoven, story Belgium, 2013, 20’15 narrator has, is the real horror that pulls by Charles Bukowski – a raw, urgent punk True horror works so well when it carries our hearts under water. scream against the pain of abuse, bullying The very creepy story of an introverted a toxic payload of truth on it’s crooked and the cyclical nature of violence. man, his wife who is in a coma due to an accident and their uneasy relationship. back. Horror – when it’s reaaaaalllllly Almost every religion promises profound Director J.J. Villard good – reminds us that, actually, where and eternal punishments for those who Director Pieter Coudyzer it counts the most, we live alone. There’s refuse to live by the rules. Invariably no one else in that mind we carry around these punishments drill a thin, shrill and with us. We share what we can and what unanaesthetised line to the most sensitive we are prepared to, but like a malformed nuclei that provides the atomic power for creature that mysteriously shares our our deepest fears – our horrors! identity, there is a part of us locked in a psychological cellar and fed just enough Many of the other films in this programme to keep it alive. The best horror reminds invite us into these hellish recesses. Dutch us that no prison is foolproof, no lock can filmmaker extraordinaire Rosto would be guaranteed and some thick walls are have to be a nominee for lead shepherd not thick enough. The best horror reminds through these terrifying terrains. His earlier us that a monster lurks within us and lurks ‘Mind The Gap’ animated projects are within the person sitting next to us. A fright billboards to his mastery of these spaces Blanche Fraise Lonely Bones The Backwater Gospel Dad’s Dead is one thing, but coming face to face with but his latest, Lonely Bones brings a layer Canada, 2011, 16’45 France, 2012, 10’00 Denmark, 2011, 9’30 UK, 2002, 6’40 that escapee is the horror. of sinister finesse that suggests Rosto is Two rabbits are starving to death in this A hallucinogenic film about a one-eyed Death stalks the prairie and has no Through a series of ghostly reminiscences a long way from running out of inspiration sinister fairy tale in a dying forest. man who escapes from a hotel room and favourites – neither true believers nor a young man tries to piece together And so this is the dark-matter that yet. Hendrick Dusollier, a filmmaker with Director Frederick Tremblay steps into a forsaken world, where time crazed hillbillies can hide. fragmented moments from the past, fuelled the selection process for this very a generally gentler catalogue of films to and space melt together. Director Bo Mathorne memories being triggered by admiration for special programme. If words struggle his name, evokes the tiniest and most Director Rosto his best friend Johnno. to adequately describe ‘the horror’ then confined of all imaginable hells in his Director Chris Shepherd pictures must step up. And what better filmFaces . And Canadian Frederick pictures than those crafted by some of the Tremblay’s Blanche Fraise crafts a world most creative imaginations on the planet. that shimmers with an exquisite despair that will probably be without end for the J.J. Villard’s opus of horror Son Of Satan characters trapped in it. grasps this nettle in a perfect, painful grip. Channelling some of Charles Bukowski’s We could have gone for cheap thrills darkest angels (and that is a crowded and the sudden shock. But we want roster), Villard vividly animates a descent something more valuable than your into a murderous hell that none of the nervous laughter. We want you to leave participants want but none can stop. a small part of your soul behind in this The sense of wilfully running head-first cinema. We want you to leave having felt towards a purposely destroyed future for The Horror. no good reason, that plays out before 68 69 10 Comedy (15) Rejected Animations USA, 2001, 9’00 An animator’s commissioned works, at Barbican Fri 25 October 21:30 rejected because of their increasingly absurd and violent tone (reflecting the The Small Dragon animator’s own progressive breakdown), Comedy animation – a target rich really want to keep the word ‘comedy’ France, 2009, 8’15 eventually find their entire animated world environment! If having been granted in it – which we want to do because collapsing in upon itself. Where’s Bruce Lee when you really, really ‘awareness’ has been a bit of a we are hoping lots of people will buy need him? Director Don Hertzfeldt double edged sword for human-kind, tickets to it and we’re dead keen on then perhaps the pointy bit at the end that happening. Elliot won an Academy Guard Dog Director Bruno Collet 12 Years is our ability to see the funny side in Award for his hysterical, satirical long short USA, 2004, 5’00 Germany, 2010, 4’00 some things. That makes us kind of Harvie Krumpet. But a trio of wonderfully Oscar-nominated comedy from the king For twelve years she ignored sneers and lucky. After all sheep, for example, sardonic, beautifully timed and very of indie animation. Why do dogs bark at mockery and stood up for her relationship. don’t have that experience – actually, skilfully written shorts preceded this little such innocent creatures as pigeons and But that was probably a mistake. squirrels? they get shorn, have to live outside, masterpiece. They’re all good but we Director Daniel Nocke marry a New Zealander and then get couldn’t afford them all so we picked Director Bill Plympton eaten. There’s a LOT of funny in that, Brother because we often programme but the sheep aren’t able to get it. alphabetically (it’s more scientific that way) and somebody else had the other two Right. Where was I? Oh yeah, Bruce Lee, DVDs out when we went down there. that’s right. It’s bloody hard to parody Cowboys – Outrage The External World Bruce Lee. Mostly, Bruce himself has But, let’s face it - the British are the UK, 1992, 3’00 USA, 2011, 14’55 cleaned up that field of endeavour and funniest people in the world. One only done it well. Bruno Collet has stepped needs to step foot out the door to see The whole of Joesville is disgusted by the A collection of dark but humorous behaviour of their young folk. vignettes created as a lo-fi animation, up to the plate magnificently and done that. Any country that gifts the world Director Phil Mulloy borrowing themes from pop culture, to Bruce what no other Bruce has done The Goons, Monty Python, Reeves cinema and video games. Or is this just a to Bruce in his little gem called The Small and Mortimer and Stewart Lee must be film about a boy learning to play the piano? Dragon which kick-boxes your funny bone collectively eating the right coloured pills. Director David O’Reilly til the toys break and the batteries go flat. Animation is no exception to the rule and this programme features just a couple of Picking which Don Hertzfeldt film to put the most likely suspects - Phil Mulloy and into a programme like this (or even this Joanna Quinn - who have been working exact programme) is no laughing matter. arguably opposite sides of that looking His back catalogue of films is a minefield glass. of crazy classics. But at the end of the day Rejected gets the gong just because Quinn tends to extract the humour from it reaches into the deeper truths of the the everyday foibles of normal people Dreams and Desires: living hell that is ‘commissioned animation’ and amplifies it into an inevitable, hilarious Brother Family Ties and nothing’s funnier than living hells – train-crash of an ending. Mulloy gives Australia, 1999, 7’50 UK, 2006, 9’45 especially Hertzfeldt’s. Nothing. every impression of seeing nothing The childhood memory of a little boy Disaster strikes when Beryl creates the funny in everyday foibles whatsoever, afflicted with asthma. ultimate wedding video. A similar selection problem awaits instead finding ingenious ways to turn Director Adam Elliot Director Joanna Quinn anybody trying to pick a single Bill the mirror on ourselves until we have little Plympton film. Luckily, here at LIAF we’re choice but to laugh at our conceits and not just anybody so we picked Guard shortcomings. The Man in the Blue Gordini Tram Dog because it’s funny as hell. The star of France, 2009, 10’00 France, 2012, 7’00 Plympton’s doggy descent into madness Any way you slice it, this programme is a harbours a steaming geyser of paranoia gloriously fattening cake. Good comedy All a superhero needs is his turf, his mask A voluptuously sultry tram ride resplendent that would qualify him for a job at the State animation is a guilty pleasure with or and some decent wheels. Even pants in all its wondrously esoteric wobbliness. aren’t essential at the end of the 1970’s. Department – although the occasional without the icing. And if the candles turn Director Michaela Pavlatova accident on the carpet down by the out to be the kind that can’t be blown out, Director Jean-Christophe Lie photocopier might cause some tensions in well all the better – who wants to sit in the the office. Or not – who knows what really dark anyway. Keeping the food metaphor goes on in there. alive for one more serving, we have gone for the maxi serve here, with all the sides, Adam Elliot has a way with words. In lots of sauces and the biggest cup of fizzy. some countries, that’s illegal but it’s fine But we forgot to get anything to clear up here nowadays and we have to include the mess. Enjoy. at least one of his films in this line-up if we

70 71 Special thanks to 10 Sci-fi (15) Le Processus Eclipse The Gloaming Morana Animations France, 2000, 7’40 France, 2012, 4’00 France, 2010, 14’00 Croatia, 2008, 12’40 A dark futuristic city, under the spell An elite space-rescue team pays the price Civilization and its accelerating evolution After running through a misty, desolate at Barbican Sat 26 October 16:00 of conformist authoritarian rule where when they are swept into the rapturous give rise to a character capable of creating landscape, a solitary hunter spends a rainy Individual freedoms are squashed by powers of the mighty eclipse. a world beyond its control. night in a shelter on top of a steep cliff. groupthink and obviously not tolerated. Directors T. Guignard, N. Lecombre & H. Director Nobrain Director Simon Bogojevic Narath Sci-Fi has been part of the animation film which acts as the opening booster Director Phillipe Grammaticopoulos Noreno landscape since the earliest days rocket for this programme. Le Processus of the artform. Indeed, animation in by Philippe Grammaticopoulos takes an general must have felt like science illusion of repetitive uniformity and the fiction to the earliest audiences. invisible terror of an apparently unseen George Melies 1902 filmLe Voyage but all powerful force controlling the very Dans La Lune cleverly depicts the will of the masses and blasts it with a man in the moon being hit in the eye smuggled tank of creative nitrous oxide. with a projectile fired from earth. This evil ballet is broken only by chance and by the fear of an everyday man who Pinning down a definition of sci-fi is not understands, ultimately, what frightens him easy. Futuristic settings are more or less most. compulsory and generally – although Mrdrchain 9 not universally – the audience are flung The nightmare of mutation is another Czech Republic, 2010, 10’00 USA, 2005, 10’40 into worlds that are dystopian in nature, recurring theme in sci-fi. Floris Kaayk’s Sliceman – the central character in a dark A band of rag dolls must destroy a usually dealing with apparent examples The Origin Of Creatures cleverly amplifies and frightening land locked into, and machine that is hunting them and stealing of excessive government control, that gnawing fear by giving us a ring-side consumed by, a murder chain. their souls. catastrophic disaster, encounters with seat at the indeterminate birthing of just The Origin of Creatures Director Ondrej Svadlena Director Shane Acker extra-terrestrial life forms, massive systems such a creature. And Robots Of Brixton Holland, 2010, 11’45 breakdowns, master criminals and the like. (Kibwe Tavares) doesn’t just push that idea In this dark parable of a post-catastrophic untamed and murderous out on to the world, a colony of mutilated limbs emerges While all of this requires a hefty dose streets, it makes it local for good measure. in an ultimately doomed attempt to create Robots of Brixton of that magic cinematic ingredient, a new form of randomly co-operative UK, 2011, 5’36 ‘suspension of disbelief’ on the part of the In 2005, a UCLA graduate by the name beings. audience, it also requires the filmmaker of Shane Acker crafted a wonderful Brixton has degenerated into an area Director Floris Kaayk to envisage and depict a whole, though little character named simply “9” and inhabited by London’s new robot fictitious, world that has a complete and placed him in a cruelly devastated, post- workforce – robots built and designed to coherent logic built into every element apocalyptical city. This film, and its unlikely carry out all of the tasks which humans no of it’s structure. One loose thread in this little hero, was possessed of a sense of longer want to do. garment risks an unravelling of the entire humanity that alludes to many sci-fi works. Countdown Director Kibwe Tavares Magnetic Movie edifice. Perhaps for this reason, Tim Burton UK/France, 2011, 3’43 UK, 2007, 4’50 picked it up and turned it into a major and An animated ode to the golden age of The remarkable secret life of invisible Animation is a supremely suited vehicle ambitious mainstream feature film which space travel. interplanetary magnetic fields, revealed as for transforming these vivid ideas into succeeded in retaining so much of the Director Celine Desrumaux chaotic ever-changing geometries in man’s visualised, simulated realities. At the big spirit of it’s original source material. visible environment. end of town, vast sums are spent creating Director Semi Conductor visions of audacious complexity, often so A great sci-fi film relies heavily on (sur)real, so hyper (un)real, they almost some pretty special alchemy. The list squeeze the art out. of ingredients is vast, their possible combinations innumerable and many of The films in this programme pull the the resulting concoctions can ascend from handbrake on before their creative the filmmakers imagination as unstable, temperature rises to the point that the art untested and volatile brews. Wrangling evaporates into the ether and disappears a small herd of these unpredictable in the wind. These films offer the audience creatures brings with it the promise of a partnership role in the imagining of the fireworks and colourful boil-overs aplenty. worlds they strive to create, the messages We’ve aimed for a programme that they strain to pass on and the visions they cherishes the sheer splendid broadness hope will remain in their wakes. of the sci-fi landscape and, like that all important tiny “2” tacked onto the end This very ethos - combined with a Nine of Einstein’s famous equation, uses the Inch Nails track that offers up all the wondrous energy of stunning animation to subtlety of a sack of broken windshield square-power the resulting works into a glass – is infused into the very fibre of the whole other orbit.

72 73 VIEW Conference 2014 15TH INTERNATIONAL COMPUTER GRAPHICS CONFERENCE

Computer Graphics, Interactive Techniques, Digital Cinema, 2D/3D Animation, Gaming and VFX Turin, Italy October 2014

send us your works for our contests

VIEW AWARD VIEW SOCIAL CONTEST Animated short with 2D/3D animation and VFX / A movie, a short, a music video or an advertising using 2D/3D Deadline 15 September / First Prize: 2000 euro animation and/or VFX focusing on current social themes / Deadline 15 September / First Prize: 1500euro VIEW AWARD GAME ITALIANMIX for all platforms games / Deadline 15 September Inspiring works by Italian filmmakers or by foreign filmmakers / First Prize: Intuos5 Touch M Tablet but having as their topic Italy or Italian subjects / Deadline 15 September / First Prize: Intuos5 Touch M Tablet

For info and submission CORSO MARCONI 38, 10125, TURIN, ITALY TEL. +39 011 6680948; FAX +39 011 6501214 | [email protected] www.viewconference.it | FB: VIEW Conference | Twitter: ViewConference Last year saw the launch of our first ever Flipbook Challenge. We had flipbooks entered from all over the world, in all manner of styles and had the honour of sharing them with you all at our Flipbook desk. Such was it’s success, we’re going in again! We want to see EVERYONE flipbooking, so no excuses… expert and noobie flipbookists alike will be welcomed. There will be prizes in the form of LIAF dvd bundles and even a spot of recognition too – how does a ‘Special Mention’ at our always sell-out Best of the Fest programme sound? We’ll be displaying the flipbooks throughout LIAF 2013 in the foyers of Barbican cinemas 2 and 3. So make sure you come say “Hi” and take a look. We’ll also be filming our favourites – flipped into motion, and uploading them to social media sites for all to see. So don’t be shy… remember there’s flipbook potential everywhere if you look hard enough: in the corner of your next Illustration by Claude Trollope-Curson paperback; the post-it notes on your desk; grab yourself a bulldog clip and some pieces of card… you get the idea. Entry is simple, go to our /LIAFanimation website and download a form. /londonanimation www.liaf.org.uk

Flipbook Challenge Workshop at Barbican Sat 26 October 14:30

If you’ve not made a flipbook before, or Elizabeth Hobbs Biography if you fancy finding out more about this particular form of micro-animation, then Elizabeth Hobbs is an independent Old Man (2007). Elizabeth also runs we’ll be running a Flipbook Workshop animator working in East London under animation workshops in museums and during LIAF 2013. Flipbook expert the name Spellbound Animations. Her galleries and lectures at Anglia Ruskin Elizabeth Hobbs will share her expertise, short films have been screened widely University in Cambridge. Elizabeth will explaining the principles of the flipbook, internationally and won many awards. be running our Flipbook Challenge revealing a variety of techniques and They include The Emperor (2001), The Workshop. Her latest film,Imperial guiding you as you embark upon Witches (2002), The True Story of Sawney Provisor Frombald screens in our British creating your own. Beane (2005) and The Old, Old, Very Showcase.

77 Animation Industry Event

Creative Skillset have joined up with us to run our annual Animation Industry Event and we’ve got all manner of topics being covered, by special guests from a wide range of very different areas. Each of them are ready to impart their knowledge and answer your questions in four carefully chosen panel sessions. For anyone working in the industry, thinking of working in the industry or just plain curious these four sessions are indispensable.

Tickets: £5 (online) £6 (on door).

Animation Industry Event, LIAF 2012 Animation Breaks Out: Tax Breaks How to Become a Ten Year-Old: & the New Future of Animation Living Long & Prospering in Animation at Barbican Fri 1 November 10:00

at Barbican Sat 2 November 10:00 Chaired by Saint John Walker, Creative In last year’s panel we looked forward Confirmed Panellists Skillset. to what tax breaks would do for the industry- and now we bring some of the Oli Hyatt – Managing Director at Blue- Chaired by Saint John Walker, Creative some who have stayed one step ahead Confirmed Panellists This last year the animation industry got key players back to tell us how things Zoo Productions Skillset. of the trends of the day, producing a its wish- tax breaks and incentives to are going, how we are tooling up, and wide range of ads, title sequences, Ruth Fielding – Managing Director at help our industry compete on the world what we can expect over the next few Gary Thomas – Associate Director In an industry that thrives on novelty music videos alongside their own Lupus Films stage. This year is year zero for the new years. Are there signs of a renaissance at Animate Projects, Film Adviser at and fast turnover, many companies independent films. scheme, which went live in April. What’s so soon? How are companies adapting? British Council burn bright and then burn out. Other Richard Barnett – Producer at Trunk the progress? How are they affecting Are Universities ready to meet demand? companies seem to constantly refresh What’s the secret of their staying power, skills and culture? Are we tooling up, and What about VFX and Games? If you Tony Collingwood – Director at what they are doing and surprise clients and how do they keep a spring in their Maria Manton – Producer and how? Have we got the skills we need to want a stake in animations future it might Collingwood O’Hare Productions and viewers alike. We’ve got together step? What have they learnt about Director at Munky make sure the industry grows? be worth hearing what they have to a bunch of decade old operators, resilience in a notoriously fluctuating say… Tim Searle – Director and Producer at some who oscillate between their industry, and what advice do they have Baby Cow Animation own individual artistic practice and the for today’s new talent? corporate shilling to stay fresh, and

Bit Players: Coding for Creativity? The Importance of Sound in Animation at Barbican Fri 1 November 14:00 at Barbican Sat 2 November 14:00

Chaired by Saint John Walker, Creative painstaking animation work. The role Confirmed Panellists Chaired by Mark Ashworth, The Erect after-thought or carefully planned from Confirmed Panellists Skillset. of the animator becomes akin to a Spider the conception of an animation? Looking gardener (a metaphor used by pioneer William Latham – Professor in at the last decade of technological Paul Jones – Head of Production & Animators have always experimented William Latham), setting sequences Computer Art and Digital Games at In the animated world where dialogue developments, what techniques are Post at Mojofuel with new tools- and computer code is to grow and then pruning the least Goldsmiths College is often absent, sound takes on its employed today that weren’t 10 years no different. As barriers to animators aesthetic or interesting. own form – a sonic character central ago? In this open debate we will reveal Adele Cutting – Audio Director at learning code and coders learning Quayola – Visual Artist to driving the picture. But do we truly technical approaches, discuss creative SoundCuts animation disappear, new genres of We’ve assembled a variety of coders grasp the importance of sound in considerations and explain how the work are appearing. Some of the most and animators who will explain how they Richard Wright – Futurenatural animation? How much and at what digital revolution can help directors and Barnaby Templer – Fonic startling work is coming from playing to got started, give you an insight into new stage do different directors bring sound sound designers work together without the computer’s strengths of repetitive tools and techniques, and show how Corrado Morgana – Programme into the creative process? Is sound an having to go to big buck studios. Louis Hudson – Dice Productions iteration and responding to rules set computer science and creativity are Leader for Computer Games Design by a programmer/artist, rather than pushing the boundaries of animation. at University of Wales Newport

Paul Mumford – Company Director of Labmeta

78 79 elegant but complete and unusual was books tell the story of an unwanted pet It’s a treat to finish Soldier by David Peros-Bonnot from forced to find his way in a dark, dark the summer with Past Guests Croatia in which a statue of a soldier runs world. It deserves many viewings. The amok. The filmmaker intended it to be “A Bedwetter by I. Schiller and S.F Mueller a serious blast of symbolic story about a product of society seemed like a singular student work at first animation at LIAF, that gets out of control”. What struck me but turned into a deftly executed pixilation “ Reminiscence... as being more interesting was the use of film with many unexpected turns. I had my which gets better and model animation in a story about statues mouth open for the whole 5 minutes. better. that come alive. Carnivore Reflux by The People’s Republic of Animation and The The British Panorama was a varied Tale of How by The Blackheart Gang were programme that seemed very British to We’ve had many memorable Comley, and to participate on a panel How has independent animation changed both stunning to watch but to my mind me. A mixture of homemade, beautiful, eclectic festival deserves a good home. guests who have graced us with about the Animated Documentary. I between 2003 and 2013? Well a lot more both suffered a conflict between the words and and some very funny pieces, in It was great to see Koji Yamamura here. their presence at LIAF over the also introduced my filmSorceress at the people seem to be doing it, in part due and the image. The other moment of note particular The Surprise Demise of Francis He’s a good and very busy international past 10 years, whether to conduct Competition Screening and talked a little to innovations in computers and digital was a horror film in CG in which a blood Cooper by Felix Massie and Little Face artist. My favourite of the films he showed masterclasses, Q & A’s or workshops, about it. That was a festival first for me. It tools, which allow almost anyone to make smeared naked lady with no nipples ran by Matthew Walker, two films I’d been is Mount Head (2002) with it’s brilliant to introduce their films or simply was so great to be asked to take part, as animation. Conversely, every year it’s petrified through a forest. looking forward to seeing for a long time, raucous voiceover and a strange twisted, to meet the audience and other it made me feel completely engaged with more and more competitive to get films (good blogs too). Bruce by Tom Judd is traditional story. The protagonist is so animators. They have come from the festival. into festivals. Sadly short independent August 27th 2007 – I was at the Curzon truly dark. An overweight man makes a stingy that he doesn’t throw anything far and wide and are too many to animated films are rarely seen outside last night for Best of the Fest with Nag little man mammal using a lump of meat away and gorges upon foraged food. In mention but here are some written Other highlights included attending a festivals, unless they are put up for free Vladermersky, Mait Laas and Priit Tender and his USB cable, inserts a chip into his these times of austerity I bet we all have thoughts from four of our finest guests. presentation by Japanese animator Koji online. Opportunities for independent from Eesti Joonis Films in Estonia and the naval and operates him with his games little people living on our heads making Yamamura. I’ve admired his work for animators to earn income from their films splendid globe-trotting LIAF co director console. I won’t reveal the ending except merry. There was a great mixture of films years, so it was nice to finally meet him in are less and less. Hopefully someday this Malcolm Turner. to say that the man behaves with appalling shown this year in Best of the Fest. Will Patrick Jenkins, person. I also briefly met illustrator Ralph will improve. carelessness towards the little man Anderson from ECA scooped the Best Steadman, an artist whose work I love, To Best of the Fest: Time is Running mammal. I wonder if it will appear tonight of the Fest. His filmThe Making of Long Canada who was the subject a documentary It was a thrill to attend LIAF 2012. Thanks Out by Mark Reisbig is a strange and in Best of the Fest. Hope so. Bird had a really charming feel to it, though screened on the opening night. When I again! inventive film, the action takes place perhaps it didn’t quite merit the long short I have very fond shook his hand he asked me jokingly “So within a continuous circular pan, coupled 2010- LIAF starts today – hooray! I form, I might have cut it up a bit myself. It memories of being you speak Canadian?” and I replied, “I www.patrickjenkinsanimation.com with a frame that slowly decreases in shall wash and find my raincoat and set reminded me very much of Jim Le Fevre’s a Special Guest do.” size and sound that becomes gradually off there forthwith. I am lucky this year ECA student filmThe Little Princesses Animator at the 2012 more layered. It’s like being hypnotised, because I am on duty as a juror and I Birthday Party from 1997. It was a treat to London International I also met and worked with Lithuanian Elizabeth Hobbs, assaulted and slowly crushed all at once. think that means watching almost all see Joseph Pierce’s new filmThe Pub, his Animation Festival. animator Urte Budinaite and attended In Everything will be OK, Don Hertzfeldt the programmes, new friends and a free style is really unique and it lends itself to LIAF, and its sister festival the the late night screenings at the Horse UK has done something similar with his cobra beer. a study of drunken public house visitors. Melbourne International Animation Hospital, which is an amazing arts venue. sound, which was also used to reflect A live action performance underpins the Festival, have been so supportive You might not get Originally built in 1797, it’s imbued with a the chaotic inner world of protagonist Bill. 2011 YEAH! - It’s a treat to finish the work, and those performances are always of my films, that I couldn’t resist the a free lasagne great feeling of history. Sometimes it wasn’t possible to hear Bill’s summer with a serious blast of animation spot on, with generous uncomfortable opportunity to attend the festival. for breakfast, a little voice for the sounds of head butting, at LIAF, which gets better and better. silences. The amazing Vladimir Leschiov’s Nag Vladermersky and the LIAF staff statuette on a stand, One of my favorite films from LIAF 2012 crisp munching, vacuum cleaning and This year the Best of the Fest screening new filmVilla Antropoff was good to extended a lot of hospitality to me or be sailing on a was The Tender March, an animated key dropping that went on. I was lucky included some extraordinary works, see there too, though it didn’t have the and made my stay in London really ship from Odessa music video by Wataru Uekusa, a student yesterday not only because The Old, though they were, without exception, mystery and calmness contained in his enjoyable. Thanks to all! to Kyiv, but the London International from Tokyo University of the Arts. I loved Old, Very Old Man was awarded best of expositions of bleak subjects, they were, earlier films, and perhaps I missed that. As Animation Festival is a busy and the trippy quality of this video with its loopy International Prog. 4 by the audience and with one exception male, and they were a final thought, I noticed that there were It had been nearly 30 years since I was splendid festival, home-grown without logic. I was also intrigued by The Pub the jury, but also because I bought a little all pretty long. David O Reilly’s External no women’s films in either the Best of the last in London and I was astounded by airs, springing from the festival by Joseph Pierce, a nightmarish view of green super eight viewer on a key ring World was perhaps my favourite because Fest audience votes or judges favourites, the changes the city had gone through directors’ delight and knowledge of patrons in a tavern, as seen through the from Mark Pawson at the Vyner Street it’s so nuts, all the characters are greedy, which was something that cropped up in that time. During the ten days of LIAF, animated film in all it’s many forms incredulous eyes of a female bartender. Festival. acquisitive or in the grip of a little drama, during a panel discussion that I was I went to London’s wonderful museums and styles. I have celebrated each I also enjoyed Fata Morgana by Frodo but it is also clever and thoughtful in it’s involved with for LIAF’s Best of the Fest and art galleries. In the evenings I went visit to LIAF over the years in my blog Kuipers, a wonderful comedy about our LIAF 2009 – British Panorama - Last night way, embracing both the past and future ever in 2010. It’s unsettling to notice that to the screenings at the festival. I enjoyed and here are some excerpts: ability to delude ourselves, and Out On I went to International Programme 3 at of animation without concession. The women’s films are becoming less visible, this format: watching just a couple of A Limb by Falk Schuster, a hand drawn the Renoir with Shelly. What a relentlessly new work by Blu, Big Bang, Big Boom is or maybe there are less of them, or that screenings every night. This allowed time 25th August 2007 – LIAF is here. I’m film about an irascible bird, done in a masterful programme of works. I kept impressive, the film visits the same subject they are just less popular. I’d have to do to digest the films presented. back from Orkney, and managed to get unique collage animation technique. Other hoping for a rubbish film so that I could as in Ishu Patel’s Bead Game (1977), but some counting, but a quick scan of festival to the Curzon for the long shorts. The highlights for me were the dark satire Villa have a zzzzz. Of all of them, Bill Porter‘s the material is paint on Berlin, not beads programmes reveals that presently women I really appreciated the opportunity to long shorts is a good idea, you see just 6 Antropoff by Vladimir Leschiov and Kaspar filmOn Time Off was the most striking. under a rostrum. The excellent stop aren’t making up half of festival jury’s or contribute to the festival. I especially films. I enjoyed Pekka Korhonen’sSiberian Jancis, and the whimsical The Mechanism Many poseurs on a beach in various motion animation Bobby Yeah! was there directors of films screened. Perhaps the enjoyed conducting 4 flipbook workshops Express, because it was funny, dark of Spring by Atsushi Wada. shades of puce morphed into the too. Congratulations to Robert Morgan best thing to do is get on and make my during the festival, 3 on Halloween night and a little bit sexy. There were actually hundreds and thousands on an ice cream, for winning Best British Animation. I did film in time for next year and make sure to revellers dressed in costumes. One quite a lot of depictions of large breasted Wandering around London, I was then there’s a fire and everyone goes feel truly sick and wretched by the end, all it’s good. woman was dressed as the Devil, and women over the course of the evening, delighted to see a large installation of home. A tiny shot of some aeroplanes that corned beef and toenails, and poor another was in full Kabuki make-up! What not enough to form a worrying trend but sculptures by Tony Cragg, one of my sets the broader agenda without being old deranged and innocent Bobby, who is http://lizzyhobbs.wordpress.com/ a great group. Later in the week, I judged I will be monitoring this. Sarah’s Tale by favourite British sculptors, at the Victoria heavy handed and then a not so puce egged on to acts of extreme violence by blog/ the first ever LIAF Flip Book Challenge Svetlana Filipova (2006) was wonderful. and Albert Museum. In Trafalgar Square, male arrives for the evening. My favourite the lure of a red button that he can’t seem competition. I recall carrying 100 blank The tale is told with a very light touch, two giggling young Japanese women part was a man trying to get into his little to resist. scratchpads from Canada in my carry on the gentle, scruffy drawings and even the approached me, trying to sell me a poem trunks, just a couple of frames repeated luggage for these workshops. subtitles visited every corner of the screen they had written in Japanese calligraphy. three times. What a good film. LIAF 2012 - It’s good to see LIAF settled and she kept our eyes busy with very I kept a daily off beat blog of my journeys and supported at the Barbican. The I was pleased to judge the Abstract film elegant, musical changes of proportion around London that Nag and the LIAF Black Dog’s Progress by Stephen Irwin directors have worked like dogs for nearly category along with British animator Tony and perspective. Certainly not subtle or staff followed, much to my delight. stood out for me too, hundreds of flipping ten years, and their unshowy, thoroughly 80 81 Theodore Ushev, Steven Woloshen, I will always cherish the friendships that I Canada/Bulgaria Canada have cultivated in the My stay at LIAF. Hats Off To Liaf: For short time I spent at How could I forget the last 40 years, “ LIAF. it... It started like London has been this: like a second home to me. When I was on my way to London, 12 years old, I sailed a slightly more aware of the potential of the wheels of the plane broke down. up Thames River with my parents, analog filmmaking. The flight was cancelled, and I missed four bottles of “rock shandies”1, two the opening of the festival. I hardly found boxes of shortbread cookies and Here are a few things I learned at the tickets for the next day... The plane arrived our Bell and Howell super-8 camera, London International Animation Festival: late... 2 hours before my workshop... On headed towards Greenwich Mean top of it, the customs officer at the airport Time and the home of the British 1. Laurie Hill is a guy. Before I met him, took me for al Al Quaeda member, and Naval Museum. A few years later, I saw “Photograph of Jesus” at a film interrogated me as I was carrying a bag I travelled to London with my high festival in Montreal- Awesome. with a MK40... I arrived at the Barbican 20 school English class. We sat at the minutes before the event... St. Martin’s theatre watching Agatha 2. The Renoir Cinema screened films from Christie’s play, Mousetrap (is it still around the globe3. After that everything went smooth... A the longest running play in British Korean girl, I was dating at that time, came history?). In the 1980s, I saw Sophia 3. The Horse Hospital does not smell like during the festival. I decided to explain to George at The Hammersmith Palais horses. My daughter (who loves horses) her about English theatre. We ended up and camped out on the floor of a asked if the horses were o.k. “I guess so,” at George Bernard Shaw’s Pygmalion, Shepherd’s Bush flat with a stand-in say I. with Rupert Everett. Everything was fine, actor that I had met on a Montreal or so I thought... Going out of the theatre, film set. Now, I’m 53 years old and 4. London is a great city. After 40 years of we went for a glass of wine. It seems she I have invested more than 30 years travels, I still see the same sights that I saw took the theatre too personally – was I into the art of movement, light and as a 12-year-old boy. pretending to be the Pygmalion? The shadows, better known as abstract, result? She was running after me with a handmade animation. Thirty years of 40 years later. The barges and tour boats sharp cheese knife around Kensington marrying music with hand-scratched still travel up and down the Thames River. Square. That night, I was afraid to go back and hand-painted short films. But Buckingham Palace is still shiny and Index to my hotel thinking that behind every even as the art of the animated film well maintained. Motorists still drive on corner there is an armed Korean girl. changes at the speed of light all the wrong side of the road. The British around me, the animation festival in Museum is still as cool as ever and Next day, during my Lipsett Diaries film London is still my rock and my anchor English beer comes in more varieties presentation, I saw her, all in black. After in choppy seas. than anywhere else in Europe. I could the screening, I was lucky that many never have imagined in 1972 that I would people were asking me questions, I In 2010, I was invited to London as an return to London again and again to eat, sneaked out with them. She tried to enter experimental, independent animator2. drink and converse with animators. The the elevator with us, Pat Doyon took the I ate, slept, drank and generally hung London International Animation Festival will last place, curiously watching her. Without out in a beautiful neighbourhood called always serve the greatest helpings of fun, even knowing it, Nag saved my life, taking Bloomsbury, soaking in the coffee and education and diversity in animated films. me for a beer downstairs! candy from Boots chemists and sketching I will always cherish the friendships that I out new film ideas in Russell Square Park. have cultivated in the short time I spent at After that everything was smooth. I went The Renoir cinema (the home of the LIAF LIAF, the true home of an animated island, to see a Vorticist exhibition. This is how at the time) had plenty of charm, too. I England. the film Gloria Victoria, playing at this spent every night in the main cinema (of 1. A non-alcoholic mix of ginger ale and beer, known in years festival, was born - out of Wyndham the two funky, underground screening North America as “hard cider”. Lewis prints, the anger and the hate of the rooms beneath the Bloomsbury mall) humans. seeking new faces, finding old friends and 2. If you’re not sure what that means, let me explain: drinking with funny, Python-esque jurors. An independent filmmaker/artist owes his allegiance I met the girl again a few years later. She As a guest juror myself, we had the great to the freedom of creation and the love of the amateur was not mad at me. She just told me: if honour of choosing a grand prize every filmmaking. my father knew, he could send killers to night. That was a thrill you don’t normally 3. On my second night, I met a few American get you in Montreal. experience at an international film festival. documentary filmmakers who stumbled into the festival bar after they premiered their latest film in So you ask, how has animation changed But the greatest thrill was hosting my own cinema number 2. They were curious about LIAF and over the last 10 years? It has more Kimchi workshop at the Hungerford Film and I tried to explain my process, but they couldn’t seem sauce, I guess. Video school. When we wrapped up our to grasp how a film could be made without any people weekend workshop, I realized that my appearing in it. artistic process crossed over into many disciplines; painting, sculpture, calligraphy, pop art; we touched on so many areas of art on that weekend. In the 21st century, it’s so hard to describe my direct, paint on film process, but now 15 UK artists are

82 83 Barracuda Delphine Hermans & Mathieu Dancing With Northern Lights Prendergast/Oh Yeah Wow 31 Komaneko, Home Alone Tsuneo Frederic Philibert 59 Labaye 29 Jonathan Amitay 64 Goda 35 Guard Dog Bill Plympton 70 My Little Underground / Suivra le Film Baby I love you Faiyaz Jafri 28 Delicate Steve - Tallest Heights Kostya Anton Dyakov 37 Jour Elise Simard 17 Guilt / Kalte Reda Bartkute 14 Becky Sloan and Joseph Pelling 31 Believe in Yourself Tony Dusko 34 Devil in the Room Carla MacKinnon Benjamin Scheuer - The Lion Peter L N 33 H Baynton 31 Labyrinth Patrick Jenkins 64 Nearest and Dearest Michael Sieber/ Happy Holidays Cameron Gough, Dirty Index Ülo Pikkov 55 Max Stöhr 37 Dialogues Bermuda Ülo Pikkov 55 Puppet 29 La Chute Gwenola Carrere 15 Don’t Fear Death Louis Hudson 43 Noodle Fish Jin Man Kim 19 Big Signal Evelien Lohbeck 26 Happy Train Tami Takezawa 28 La Loup Blanc Pierre-Luc Granjon 59 Double Fikret Haiyang Wang 17 No One Remains Virgin – Under Binary - G.O.D Nicos Livesey and Tom Heavy Eyes Siegfried Fruhauf 27 Lay Bare Paul Bush 40 the Lion Crotch Wong Ping 28 0-9 Bunker 31 Drat Farzin Farzaneh 63 High above the Sky Kim Noce and Left Eamonn O’Neill 16 12 Years Daniel Nocke 71 Norman Robbe Vervaeke 19 Blanche Fraise Frédérick Tremblay 69 Drawing for Memory Mosaic films Shaun Clark 35 Le Processus Philippe 9 Shane Acker 73 32 Not About Us Michael Frei 11 Blind Evolution Zane Kozak 66 His War / Son indochine Bruno Collet Grammaticopoulos 72 Dreams and Desires: Family Ties 19 Body Memory Ülo Pikkov 55 Like Lotta Sweetliv 29 Joanna Quinn 71 A Hold Kim Anderson 64 O Boles Spela Cadez 17 Limitations Jeanette Bonds 26 Ab Ovo Anita Kwiatkowska-Naqvi 19 Droplets Simon Fiedler 15 Old Man Leah Shore 15, 32 Hollowland Michelle and Uri Kranot 23 Bonobo – Cirrus Cyriak Harris 30 Little Plastic Figure Samo-Sama 17, Act of Terror Gemma Atkinson/Una Drux Flux Theodore Ushev 66 On Loop Christine Hooper 43 Hot House 6 Behind The Scene 37 Marzorati 33 Boy Steven Subotnick 26 Jelena Popovic 66 One Moment Please Maarten Little Theatres - Homage To The A Direct Film Farewell Oerd Van Britain Bexie Bush 33 Koopman 19 E Hum Emily Howells and Anne Wilkins 44 Mineral Of Cabbage Stephanie Cuijlenborg 26 Broken Time Johannes Gierlinger 27 Eclipse T. Guignard, N. Lecombre, H. Dudley 64 Ora Philippe Baylaucq 66 Aeolian Tom Shrapnel/Cameron Lowe Noreno 73 Brother Adam Elliot 70 Lonely Bones Rosto 29, 69 41 I Eyes Closed Samo (Anna Bergmann) Business As Usual Carol Beecher, I Already Know What I Hear Darko P Agape Alexandre Iliach 64 33 Kevin D.A. Kurytnik 64 Masnec 26 M Palmipedarium Jérémy Clapin 21 Agnieszka Izabela Bartosik-Burkhardt ButterfliesIsabel Peppard 13 I am Tom Moody Ainslie Henderson Machine Diane Obomsawin 63 Paths of Hate Damian Nenow 57 15 F 41 MacPherson Martine Chartrand 19 Paula Dominic-Etienne Simard 15 A Girl Named Elastika Guillaume Face Hendrick Dusollier 69 I Love You So Hard Ross Butter/ECA Blanchet 35, 63 C Madagascar Bastien Dubois 59 Persistence of Vision Kevin Schreck Fallen Art Tomek Baginski 56 29 Calamity Island Dave Johnson 35 48, 49 A Gum Boy Masaki Okuda 37 Magnetic Movie Semiconductor 73 Fallin’ Floyd Paco Vink & Albert ‘t Hooft Imago Cedric Babouche 59 Car Cemetry DJXLS, Francis Theberge, Pierogi Pinch Kiarra Albina 66 Along the Way Georges Schwizgebel 13 Marcel, King Of Tervuren Tom Daniel Faubert 64 Imperial Provisor Frombald Liz 21 Schroeder 17 Pinball Darko Vidackovic 27 Falling In Love Again Munro Ferguson Hobbs 40 C’est La Vie: The Chris J. American Homes Joel Fox 33 66 Marvin Parson Inner Wild Pishto Goes Away Sonya Kendel 37 Melnychuk Story QAS Collective 64 In Front of the Mirror Lydia Guenther Wilderness Fred Casia 65 Anatole’s Island Philip O’Shea, Amer Fear of Flying Conor Finnegan 10 29 Pistamashina – 7596 frames Martin Chernokids Marion Petegnief, Matthieu Nazri and Chris Shepherd 37, 40 Miniyamba Luc Perez 22 Georgiev 31 Bernadat, Nils Boussuge, Florence Ciuccoli Feral Daniel Sousa 11 International Fathers Day Edmunds Angels and Ghosts Sara Kenney 23 and Clément Deltour 69 Jansons 13, 37 Miriam’s Food Processor Nuku film Plug and Play Michael Frei 21 Figment Craig Marshall 64 35 Animated History of Poland Tomek Choir Tour Edmunds Jansons 20, 36 Interoculus Marie Valade 65 Powerthirst Picnicface 28 Flying Lotus - Tiny Tortures David Baginski 57 Miriam’s Green Spots Nuku film 34 Chopper Lars Damoiseaux & Frederik Lewandowski 30 In the Air is Christopher Gray Felix Primus - Lee Van Cleef Chris Lenox Animated Self Portraits Madi Piller Palmaers 12 Massie 21 Moi Ines Sedan 59 Smith 30 Franz Ferdinand - Right actions 63 China Rats - No MONEY Richard Jonas Odell 30 Invocation Robert Morgan 16 Moirai Kerstin Unger & Jasper Diekamp Private Eyes Nicola Lemay 66 Another Day in the Life trailer Swarbrick 31 15 Frenching JC Little 63 Irish Folk Furniture Tony Donoghue Damian Nenow 57 City of Ruins Damian Nenow 57 32 Monstersinfonie Kiana Naghshineh Fresh Guacamole PES 35, 36 R Apples We Have Eaten Masha Ermak 35 Cleo’s Boogie Collective Camera Etc It’s The Good Life Sharon Katz 63 Rabbitland Ana Nedeljkovic & Nikola 29 From A to B and Back Again 17 Montenegro Luiz Stockler 41 Majdak jnr. 21 Mosaic films 33 Ark Grzegorz Jonkajtys 56 Coffee / Koffie Sjaak Rood 15 Moonman Paul Morstad 66 Re-collection Nicholas Kallincos 18 Funeral Home Piñatas Andrew J Assembly Jenn Strom 15 Consuming Spirits Chris Sullivan 52 McCully, Jayson Simpson, Jacob Tuck, Jammed M-I-E/Yibi Hu 42 Moon River Sue Magoo 44 Reflexion Greg Labute 66 Astigmatismo Nicolai Troshinsky 11 Arun Gnanaselehar 28 Countdown Céline Desrumaux 73 Jan Matejko’s Battle of Grunwald Morana Simon Bogojevic Narath 73 Rejected Don Hertzfeldt 71 Aston’s Presents Lotta and Uzi Futon Yoriko Mizushiri 17 Tomek Baginski 57 Cowboys – Outrage Phil Mulloy 71 Morning Train / Fruhzug Delia Hess Rising Hope Milen Vitanov 18, 37 Geffenblad 34 June Munro Ferguson 66 16 Crazy For It Yutaro Kubo 13 Robots of Brixton Kibwe Tavares 73 A-Trak & Tommy Trash - Tuna Melt G Junk Kirk Hendry 21 Mound Allison Schulnik 29 Ryan Staake 31 Crossing Victoria Steven Woloshen Rotting Hill James Cunningham 28 Gains And Losses Leslie Supnet 63 64 Junkyard Hisko Hulsing 22 Mrdrchain Ondrej Svadlena 73 Autour du Lac Carl Roosens, Noemie Roundabout Peter Byrne 26 Gloria Victoria Theodore Ushev 13, 66 Marsily 29 Cyberpunk 2077 Tomek Baginski 57 Mungge, not again! Claudia Röthlin, Gluttony (Family Visit) Ann Marie K Adrian Flückiger, Irmgard Walthert 35 Fleming 63 S Kaspar Diane Obomsawin 13 Musical Chairs Du Yukai and Tang Ya B D Seams and Embers Claire Lamond Good Grief Fiona Dalwood 33 21 Ballast Jost Althoff 17 Dad’s Dead Chris Shepherd 69 Kick-Heart Masaaki Yuasa 11 33 Gotye - Easy Way Out Darcy My Little Brother From The Moon 84 85 LIAF 2004 AWARDS: UTSU-MUSUME SAYURI - TAKASHI KIMURA • LIAF Sharing Tony Dusko 35 DeRushie 64 Ahonen 50 2005 AWARDS: RYAN - CHRIS LANDRETH • SON OF SATAN - J.J. VILLARD Shift Max Hattler 26 The Gloaming NoBrain 73 Tom and the Queen Bee Andreas Hykade 35, 37 • SADAM AND OSAMA - DAVID WACHTENHEIM & ROBERT MARIANETTI • Shugo Tokumaru – Katachi The Goat Herder and His Lots and Przemyslaw Adamski, Katarzyna Kijek 31 Lots and Lots of Goats Will Rose 35 To This Day Shane Koyczan/Giant Ant BIRTHDAY BOY - SEJONG PARK • WINDS EMBRACE - JOSE MIGUEL RIBEIRO 11 Sleeping with the Fishes Yousif Al- The Great Escape Damian Nenow 57 • THE REGULATOR - PHILLIPE GRAMMATICOPOLOUS • LIAF 2006 AWARDS: Khalifa 42 Toto Zbigniew Czapla 13 The Headless Horseman Ülo Pikkov RABBIT - RUN WRAKE • FROM THE LIFE OF MOTHERS - K. DUFKOVA • Snail Trail Philipp Artus 27 55 Tower Bawher Theodore Ushev 66 WHO I AM AND WHAT I WANT - DAVID SHRIGLEY & CHRIS SHEPHERD • Solipsist Andrew Huang 12 The Hours of Tree Dahee Jeong 17 Traces Of Joy Jeff Tran 63 BOB LOG III’S ELECTRIC FENCE STORY - SEBASTIEN WOLF & TINKA STOCK Someone Who Gets You Tony Dusko The Hungry Corpse Gergely Wootsch Tram Michaela Pavlatova 14, 59, 71 35 20 • THE TRUE STORY OF SAWNEY BEANE - ELIZABETH HOBBS • THE BACK Tunnel Maryam Kashkoolinia 19 Somnium Noah Wohl, Nima Ehtemam The Interview Claire Blanchet 65 Two Fingers - Vengeance Rhythm BRACE - ANDY LONDON & CAROLYN LONDON • CAREFUL - DAMIAN 63 The Man in the Blue Gordini Jean- Chris Ullens 31 GASCOIGNE • THE MOON AND THE SON - JOHN CANEMAKER • TOWER Son of Satan J J Villard 68 Christophe Lie 71 BAWHER - THEODORE USHEV • ZERO DEGREE - OMID KHOSHNAZAR • I Sonata Nadia Micault 21 The Man Is The Only Bird That U Carries His Own Cage Claude Weiss Sothko - Everything is Fine Marc Unlaced A. Megan Turnbull 66 WANT A DOG - SHELSON COHEN • CYTOPLASMS IN ACID ENVIRONMENT 59 Johansen 31 - IRENE IBORRA & DAVID GAUTIER • PINGPONGS - GEORGE GENDI • The Man Who Mistook His Wife SPD & Me Matthew Brookes 33 For A Hat Ross Hogg 43 V LIAF 2007 AWARDS: EVERYTHING WILL BE OK - DON HERTZFELDT • Spellbreaker Diana van Houten & Janis Virtuos Virtuell Thomas Stellmach 26 The Mole at the Sea Anna Kadykova TIME IS RUNNING OUT - MARC REISBIG • LIAF 2008 AWARDS: THE TINY Joy Epping 21 36 Visa Maryam Tafakory 33 Spirit Of Bluebird Xstine Cook 63 FISH - GREGORY MALISHEV • SKHIZEIN - JEREMY CLAPIN • THE LIFE The Mystery of the Malakka Split Ends Joanna Priestley 26 Mountain Jakub Wronski 23 W SIZE ZOETROPE - MARK SIMON HEWIS • THE IRRESISTIBLE SMILE - AMI Subconscious Password Chris The Myth Of Robo Wonder Kid Joel Wax Tailor featuring Aloe Blacc - LINDHOLM • SUNDANCE ‘FORGETFULNESS’ - JULIAN GREY • DRIFT - Landreth 11 Mackenzie 63 Time to Go Darcy Prendergast/Oh Yeah Wow 31 MAX HATTLER • …AS THEY PASS…/MNEMOSYNE 01 - B. BODENAUER Sunny Afternoon Thomas Renoldner The Origin of Creatures Floris Kaayk 17 72 We May Meet, We May Not • PECATUM PARVUM - ASYA LUKIN • MADAME TUTLI-PUTLI - C. LAVIS Skirmanta Jakaite 10 The Pain and the Pity Phil Mulloy 51 & M. SZCZERBOWSKI • THREE LOVE STORIES - SVETLANA FILIPPOVA When The Sun Turns Into Juice T The Perfect Detonator Jay White 64 • STAND UP - JOSEPH PIERCE • LIAF 2009 AWARDS: MUTO - BLU • Steven Woloshen 27 Tame Impala - Feels Like We Only The Routine Cedric Babouche 59 Go Backwards Becky Sloan and Where Dogs Die Svetlana Filippova RAPUNZEL’S FLIGHT - GUSTAVO ARTEAGA • LIAF 2010 AWARDS: ANGRY Joseph Pelling 30 The Sandpixies: Clouds, Nothing 59 MAN - ANITA KILLI • A FAMILY PORTRAIT - JOSEPH PIERCE • WINGS But Clouds Ralf Kukula 35 Taste of Life Ülo Pikkov 55 Widow Caillou Agnes Patron 12 AND OARS - VLADIMIR LESCIOV • MADAGASCA’R, A JOURNEY DIARY - The Shirley Temple Daniela Sherer 44 Teaching Infinity Bartek Kik & Jakub Wind Robert Löbel 13, 37 BASTIEN DUBOIS • ORGESTICULANISMUS - MATHIEU LABAYE • MY LIFE Jablonski 57 The Small Dragon Bruno Collet 71 IN YOUR HANDS NUNO BEATO • THE MAN WHO SLEPT - INES SEDAN Tempest in a Bedroom Laurence The Smaller Room Nina Wehrle and X Arcadias & Juliette Marchand 19 Cristobal Leon 69 X Max Hattler 27 • PERIPETICS - ZEITGUISED • MODULE - PINK TWINS • ESTERHAZY - The Backwater Gospel Bo Mathorne The Spinto Band - The Living ISABELA PLUCINSKA • DIALOGUES - ULO PIKKOV • LIAF 2011 AWARDS: 69 Things Phil Davis 30 Y IN A PIG’S EYE - ATSUSHI WADA • BOBBY YEAH - ROBERT MORGAN • The Banker Phil Mulloy 13 The Triangle Affair Andres Tenusaar Yellow Sticky Notes - Canadian 11 The Box-Poltergeist Dadomani Studio Anijam Jeff Chiba Stearns 64 ROOTS OF THE HIDDEN - ELIZABETH SEVENOAKS • GET REAL! - EVERT DE 14 The Wake Pieter Coudyzer 69 BEIJER • WHITE TAPE - MICHAL & URI KRANOT • BATTENBERG - STEWART The Bungled Child / La The Witcher 2: Assassins of Kings Z COMRIE • LIPSETT DIARIES - THEODORE USHEV • LIGHTFORMS - MALCOLM Ravaudeuse Simon Filliot 15 Intro Tomek Baginski & Maciej Jackiewicz Zap Girl Makes Toast Chris J. 57 The Cathedral Tomek Baginski 56 Melnychuk 64 SUTHERLAND • THE EXTERNAL WORLD - DAVID O’REILLY • HAMBUSTER The Wobble Incident Claire Blanchet The Cat With Hands Rob Morgan 68 Ziegenort Tomasz Popakul 23 - PAUL ALEXANDRE, DARA CAZAMEA, MAXIME CAZAUX, ROMAIN & Sam Vipond 65 The Deep PES 15, 34, 37 DELAUNAY & BRUNO ORTOLLAND • LIAF 2012 AWARDS: THE MAKING The Year of the Monkey Ülo Pikkov The Dewberry Empire Christian 55 OF LONGBIRD - WILL ANDERSON • MOXIE - STEPHEN IRWIN • MANY Schlaeffer 42 Things Don’t Fit Tim Divall 29 GO ROUND - YOSHIHISA NAKANISHI • AND AND - MIRAI MIZUIE • OH The Empress Lyle Pisio 63 Thumb Snatchers From the Moon WILLY - EMMA DE SWAEF & MARC JAMES ROELS • THE WOMEN’S DAY GIFT The End Ülo Pikkov 27, 55 Cocoon Bradley Schaffer, Ashley Arechiga 29 - MIHAIL DVORJANKIN • LUMINARIS - JUAN PABLO ZARAMELLA • VILLA The Equality Effect Andrea Dorfman 64 Thunder River Pierre Hebert 63 ANTROPOFF - VLADIMIR LESCIOV & KASPAR JANCIS • REW DAY - SVILEN The External World David O’Reilly 71 TINAMV 1 Adnan Popovic 11 DIMITROV • THE MECHANISM OF SPRING - ATSUSHI WADA • MOXIE - The Fox And Chickadee Evan Tito on Ice Max Andersson & Helena STEPHEN IRWIN • BYDLO - PATRICK BOUCHARD • LIAF 2013 AWARDS... 86 WWW.LIAF.ORG.UK /LIAFanimation @londonanimation