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Here we go again – another year, another festival. Time never seems to stand still at LIAF HQ, though sometimes we wish it did. Writing this introduction to the festival is like a sort-of taking stock for me. A time to reflect on the year that’s been. Moving LIAF two months later in the year (and into ‘festival season’ as everyone keeps telling me) is probably the biggest change for us this year. Out of late Summer and into early Autumn, where the nights are drawing in. Will that mean more people will be wanting to gather inside the warm, darkened spaces of the cinema? Let us see. We hope so, for once again we have scoured the globe and feasted on 2,300 + little animated gems from around the world in order to craft the festival that you see before your beady eyes. 277 films from 36 countries, and the usual broad mix of everything from scratch films, pinscreen, time-slice, live-action/animation hybrids, puppet, clay, drawn, scribbled and a whole lotta’ “how the hell have they done that?” films. Plus, of course, everything in-between. So what else have we been up to in 2012? I know we keep harping on about this (and sorry if we’re repeating ourselves) but LIAF is now much more than the annual festival. It’s a hydra! Chop off one head and another two grow! So this year there have been LIAF screenings in Macedonia, the Canary Islands, Russia, Greece, Argentina and Germany. We were the partners of the Hamburg International Animation Student Awards. We’ve toured all around the UK, from far-North Scotland to the South of England. We made our first appearances at major music festivals – Latitude and Nova. We visited Tjindirindis Festival in Lithuania and Anifest in the Czech Republic. We were asked to nominate our Top 10 all-time films for the Sight and Sound poll. We curated a screening of the scariest films we could find to accompany the Barbican’s After Dark Halloween Special. We bought over the internationally renowned Suzan Pitt for an astonishing retrospective and screening at the Horse Hospital. And we had a hundred other ideas that never quite came to fruition, but give us another 12 months and a whole wad of cash and we’ll see what we can do. Talking of which, next year is our 10th anniversary. Who would have thunk it? We do have a few ideas up our sleeve but are always happy to consider a few more. So if there’s anything you fancy seeing – or doing - at LIAF 2013, drop us an email and we’ll see what we can do. But I digress. One thing that’s been on my mind the last few days, is that outside of festivals like LIAF, there are fairly limited opportunities for these films to reach audiences other than via the internet. The good news is that there has been something of a proliferation of festivals that show these films. That said, it is also worth pointing out that much of the extra opportunity offered to both the filmmakers and audiences by this proliferation is hampered by the festivals that restrict and reduce screening opportunities by insisting on premiering rights. LIAF doesn’t have that rule (we are not interested in treating filmmakers that way) but if a filmmaker chooses or is forced to hold their film back from a festival like LIAF to assuage the demands of the premiering rules of another festival, many of the opportunities they could have gained from screening in LIAF will be lost because they will be coming to the end of their festival cycle (generally thought to be about 18-24 months) by the time they do screen. It’s actually depressingly common for pretty good films to achieve almost no screenings at all because they held back waiting for an invitation that was never forthcoming only to find that the following year they end up being edged out of their next choice of festival by newer films. There are three different parties involved in this little carnival that we call screen culture events: the filmmakers, the audience and the events. The premiering rules benefit only the event. They hurt the filmmaker by reducing their chances of being screened and reaching a more diverse audience. And they deprive the audience who, generally, aren’t aware of what they have been kept from seeing. And so the fragile miracle becomes just that little bit more brittle. Break it down to a simple numbers game. Every festival wants to screen to a full cinema. With very few exceptions that means that with any given screening, even one full to the brim, it is going to hit maybe 400 sets of expectant, inquisitive eyeballs. Wave a magic wand and remove all the false barriers and any given film might make it into 3 or 4 British festivals, a half dozen even. The point is, the fact is ... it just ain’t possible to overexpose an indie short animated film, although if you’re selfish enough and are in the mood to throw some weight around, you can restrict its meagre chances of getting to the people who really care about seeing it on the festival circuit. Such is life. Long live animated short film! Nag Vladermersky Director, London International Animation Festival October 2012

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9 Crew & Credits Contents

Executive Director Nag Vladermersky Director’s Message 3 Co-Director Malcolm Turner Programmers Programme Schedule 11 Nag Vladermersky & Malcolm Turner International Programme 1 12 Programming Assistants International Programme 2 14 Mandy Smith & Anna Gregory Curated Programmes International Programme 3 16 Malcolm Turner & Nag Vladermersky International Programme 4: Recent Japanese Shorts 18 Lithuanian Retrospective Dasa Vanova International Programme 5 20 CALF Collective Tamaki Okamoto Freight co-ordination International Programme 6 22 Mandy Smith & Nag Vladermersky International Programme 7: Into the Dark 24 Website Matthew Smith & Mandy Smith Printed Programme & Catalogue Design International Programme 8: Long Shorts 26 Mandy Smith International Programme 9: Abstract Showcase 28 Catalogue Notes Technique Focus: Live Action/Animation Hybrid 31 Nag Vladermersky & Malcolm Turner Digital Compiling Interview with Pablo Munoz Gomez 32 Anna Gregory & Claude Trollope The Making of... The Future Memories 33 Childrens Workshop Leader Kevin Griffiths Make a Spooky Film Workshop 35 Industry Co-ordinators Anna Gregory & Saint John Walker Late Night Bizarre 36 Marketing/Sponsorship Co-ordinator Amazing Animations 38 Mandy Smith Festival Assistants Liisi Kula & Dan Jones Children’s Programme 40 Event Co-ordinator (Barbican) British Showcase 42 Tamara Anderson The Animation Bursary 49 Marketing (Barbican) Graeme Campbell Animated Documentaries 50 Publicity Sarah Harvey Music Videos 52 Festival Trailers Yousif Al-Khalifa & Gareth Best of the Next: Programme 1 Tokyo 59 Powell (National Film and TV School) Judges University of the Arts Afarin Eghbal, Richard Squire, Stephen Best of the Next: Programme 2 61 Cavalier, Tony Comley & Patrick Jenkins Printing Aquatint BSC Best of the Next: Programme 3 62 Distribution Impact Distribution Feature: For No Good Reason 64 Feature: Alois Nebel 66 Special Thanks Feature: Midori-ko 68 Simon Oatley at the Film and Video A Window on New Japanese Animation 71 Workshop, Paul Bowman and Anna Kime New Japanese Animation: The CALF Collective 72 at Film London, Junko Takekawa at The Japan Foundation, Danielle Viau at the Interview with Koji Yamamura 73 NFB, Patrick Jenkins, Rita Valiukonyte Koji Yamamura Retrospective 75 & Daiva Parulskiene at The Lithuanian Embassy, Chris Oosterom & Patrizia Raeli A Big Day Out at Klasky Csupo 77 at Yume Pictures, Saint John Walker at The History of Lithuanian Animation 79 Creative Skillset, Roger and Tai at the Lithuanian Retrospective 80 Horse Hospital, Helen Gibbins, Riikka Kassinen at Shepherds Falkiners, Charles Animation Industry Event 81 Rubinstein at the Rio, Bethan Jones, Sarah The Flipbook Challenge 82 Chorley at Shooting People, Helen Nabarro Film Index 83 & Helen Stevens at the NFTS, Lucy Paul, Charlie Paul, Ralph Steadman, Kevin Richards, Dave Anderson and Darren Walsh. Programming Thanks Tamaki Okamoto, Arlene Klasky, Gabor Csupo, Megan Pearson & Dasa Vanova.

10 Programme Schedule

Thur 25 Oct 18:30 Gala Opening Night featuring ‘For No Good Reason’ + Q&A with Charlie Paul, Kevin Richards & Ralph Steadman 21:30 Technique Focus: Live Action/Animation Hybrid Fri 26 Oct 18:30 International Programme 1 20:45 International Programme 2 Sat 27 Oct 10:00 Animation Workshop (for children) 11:00 Amazing Animations (0-6 year olds) 14:00 Lithuanian Retrospective + Dáša Vánová & Urte Budinaite Q&A 16:00 Flipbook Challenge Workshop 16:00 International Programme 3 19:00 International Programme 4: Recent Japanese Shorts 21:00 Feature: ‘Midori-Ko’ + two shorts Sun 28 Oct 12:00 Children’s Animation Progamme (7-12 year olds) 14:00 Animated Documentaries + Darren Walsh Q&A 16:00 International Programme 9: Abstract Showcase 18:00 International Programme 5 20:15 Feature: ‘Alois Nebel’ + Tomáš Lunák Q&A Mon 29 Oct 18:30 International Programme 6 20:45 International Programme 7: Into the Dark Tue 30 Oct 18:30 International Programme 8: Long Shorts 20:45 Klasky Csupo Retrospective: Unseen Pilots Wed 31 Oct 10:00 Make a Spooky Film Workshop (10-14 year olds) Halloween 19:00 Flipbook Workshops at ‘After Dark Halloween Special’ 19:30 New Japanese Animation: The CALF Collective 21:30 International Programme 7: Into the Dark (repeat) Thur 1 Nov 18:30 British Animation Showcase 18:30 Koji Yamamura Masterclass 21:15 Koji Yamamura Retrospective + Q&A Fri 2 Nov 10:00 Animation Industry Event: The Future of Animation in the UK 14:00 Animation Industry Event: Moving Documentaries 19:30 Music Videos Session 21:30 Late Night Bizarre Sat 3 Nov 10:00 Animation Industry Event: The Art of Animated Film Titles 13:30 Amazing Animations (0-6 year olds) (repeat) 14:00 Animation Industry Event: Sound in the Frame 18:00 Best of the Next: Programme 1 Tokyo University of the Arts 19:30 Best of the Next: Programme 2 21:15 Best of the Next: Programme 3 Sun 4 Nov 16:00 Best of the Festival

11 (15) International 1 Programme at the Barbican Fri 26 October 18:30

Luminaris Ah, the ‘Opening Film’, one of the The long months of work paid off; in addition Argentina, 2011, 6’20 more pleasant LIAF rabbit holes I love to numerous other honours, the film was In a world controlled and timed by light, an spending time running down. I’ve found named on the 2011 Oscar shortlist for Best ordinary man has a plan that could change my fair share of dead ends and strange Animated Short Film. It is simply stunning the natural order of things. creatures down there as well as one or animation, moving with a kind of fluidity two that turned on me after I thought we and grace that can only be imagined (let Director Juan Pablo Zaramella were beginning to get along famously. alone realised) as an animated film. And Producer Sol Rulloni There’s no real criteria, no template or it feels timeless to me; it exemplifies just offcial policy. It just sort of ... depends www.zaramella.com.ar really. Some years it’s one of the last what animation is capable of in the hands scheduling decisions I make; other of somebody whose creative imagination years there is a kind of six-month, matches their skills as a filmmaker. leapfrog-style parade in which one Koji Yamamura needs no introduction to contender after another takes its turn as the lead candidate. animation fans. His latest film, Muybridge’s Strings, is an interesting look at the life and This year, however, the Opening Film pretty work of Eadweard Muybridge, the man much found me. I first saw it when I was who captured the iconic series of stills of part of the Jury at the Tindirindis Festival in a galloping horse. Part exploration of the Lithuania. Luminaris is the story of a man very fundamentals of filmmaking and part living in a world controlled by light. Each deconstruction of Muybridge the man morning, the inhabitants of that world are (who turns out to be something of a ratbag woken up and pulled to their jobs by the actually), Yamamura’s film works on a whole Kali The Little Vampire sunlight, as if by a magnetic force. The range of levels, most of them fairly visible and Canada/France/Switzerland/Portugal, protagonist works in a factory making electric accessible. 2012, 9’25 light bulbs, but has larger ambitions of his own. The setting of the film is a classic To varying degrees, this contrasts a lot with A poetic and beautiful tale and a reminder Buenos Aires, revisited from a fantastic point his earlier films that tethered their narratives that there is a place for every one of us of view. The film uses a collage of styles, to the viewer’s imagination and then dragged under the sun. Even the creatures of the combining art deco, tango, surrealism, and them off down the lane behind Yamamura’s night. neorealism. This mix of influences is directly crazy cart. Mt Head (2002) is one of LIAF’s Director Regina Pessoa favourite films of all time. Telling the story of linked with the history of Buenos Aires: the www.nfb.ca city and its population themselves are a mix a miser who sprouts a tree from the top of of different cultures. The film was inspired by his head that in turn gives rise to a growing, an instrumental tango piece called ‘Lluvia de boisterous community of scalp-top squatters Estrellas’ (Star Rain) composed by Osmar makes a certain sense but the subtleness of Maderna in the 1940s. Director Juan Pablo the lunacy that fuels this fable works a kind Zaramella explains: of magic as a mild cognitive anaesthetic, serving to lower the guard and embed the I first became acquainted with this film more deeply than most in the mind of piece of music as a child, because the viewer. my elders used to listen to it. I had always liked this piece but, as an adult, Many will have also seen Franz Kafka - A it gradually dawned on me that this Country Doctor (2007), which similarly defies music could be like a score of a film categorisation and The Old Crocodile (2005), that had never been made. In 2008 which we showed a few years ago, that My Brother Greg (Mein I was granted a creativity residency

by Abbaye de Fontevraud, in France. travelled a much straighter narrative path Bruder Franz) I decided to take this opportunity but was nonetheless full to the brim with Germany, 2011, 3’00 to develop this project. Originally, I a kind of magical realism. Changes in the Greg struggles with his nightmares of approached the project as a puppet distribution channels for many of his films flies in this delightfully animated tribute animation story, but doing some have, at times, made it trickier to secure to Kafka. pixilation tests in the gardens of them for screenings over here but this film as Fontevraud, just for fun, the seed of a NFB co-production was easily within our Director Philipp Enders the present short appeared: the idea of Producer Philipp Enders sunlight as a magnetic force. reach and we grabbed it the minute we saw it to bring his latest effort to LIAF. Of course, The film took more than two years to make, Koji is a special guest at LIAF this year, and mainly due to the unpredictability of weather his influence is starting to spread throughout conditions and especially the movement of Japanese independent animation, now that the sun, which changed the shadows on the he is the head of animation at the Tokyo locations every day. “Both the speed and University of the Arts. For those curious the intensity of sunlight changed during the people among you who might want to see shooting of a take, so we had to modify the what the latest generation of Japanese time-lapse frequency and the exposure of animators are getting up to under Koji’s the photographs all the time,” explains Sergio tutelage check out the Tokyo University of the Piñeyro, director of photography. Arts student screening (information page 59)

12 Nightingales in December September The Sparrow who kept his Canada, 2011, 3’00 France, 2011, 2’51 word Russia, 2010, 6’40 What would the world be like if nightingales An extravaganza of reconstruction starting An honest little sparrow braves the cold, no longer migrated south? A plethora of with ships awash in the deep blue and wind and rain in order to hold true to his painterly images of birdmen at work and ending in a solitary exit. noble and kindhearted promise. war evoke a world in disarray. Director Thibault Chollet Director Dmitry Geller Director Theodore Ushev Producer: Thibault Chollet Producer Vladimir Gassiev Producer: Nicolas Gerard Deltruc www.vimeo.com/thibaultc www.geller.ru www.ushev.com

Out On A Limb (Ast Mit Last) Tchaikovsky – an Elegy The House (Das Haus) Germany, 2011, 5’03 UK/Russia, 2011, 13’00 Germany, 2011, 6’48 An elegant look into the simple, Thrust into an empty room, Tchaikovsky Four dimensions and multiple gravities help competitive world of birds and the resting is forced to revisit the traumas and and hinder one little girl's attempt to help places they try and share. successes of his life. her grandmother. Director Falk Schuster Director Barry Purves Director David Buob Producer Falk Schuster Producer Glen Holberton Producer David Buob www.falkschuster.com www.barrypurves.com www.dashaus-animation.de

Big House (Suur Maja) A Tax on Bunny Rabbits Muybridge's Strings Estonia, 2011, 10’24 Canada, 2011, 2’15 Japan, 2011, 12’39 The Estonians do it again! Every house has Rabbits are calm, birds are calm, robots Yamamura animates the story of one of the a rhythm but this film brings it out into the are not. Sometimes bigger isn't better. first, and most famous, pieces of animation front yard and pumps up the volume. Director Nathaniel Akin ever created – Muybridge's horses. Director Kristjan Holm Producer Celest Brown Director Koji Yamamura Producer: Kristjan Holm www.riotsquad.tv Producers Michael Fukushima, Keisuke www.karabana.com Tsuchihashi, Shuzo John Shiota www.nfb.ca

13 (15) International 2 Programme at the Barbican Fri 26 October 20:45 My Face is in Space Joan Gratz is someone who can to make their films. Max was the first to UK, 2012, 9’00 make a fairly certain claim to the reply saying he’d be more than happy to Director Tom Jobbins title of ‘master’. Based in Portland do anything he could to pass on any tips. Producer Elia Bouthors (Oregon), Gratz’s latest flm, Kubla A genuine good guy and whoever benefits 1977 - NASA sent a Golden Record Khan, returns to a vibrantly colourful, from Max’s encyclopeadic knowledge will into space. It encapsulated some of the wonderfully fluid clay-painting - I’m sure - be a very lucky person - and greatest achievements of humankind, as technique with which most of her hopefully come up with an animated film well as a few friendly faces. Larry’s face is earlier flms have been made. well worth seeing. one of them. Her 1992 film Mona Lisa Descending A ‘Regular’ is, of course, a relative term. www.nftsfilm-tv.ac.uk Staircase is the stand-out example of the Wendy Tilby and Amanda Forbis created pure majesty that Gratz can wring out of When The Day Breaks in 1999 and it this technique. It won an Oscar and would is widely regarded as one of the best feature high on the ‘desert island’ list of short animated films ever made. On my many animation fans. Two years ago we annual pilgrimage to the National Film showed Puffer Fish, her exploration into Board of Canada bunker in Montreal I a gloriously technicolour world under the have watched the gradual progression waves, which marked an experimentation of their latest film, Wild Life, with growing with a collection of digital animation tools. anticipation. A couple of years ago, I It was a feast for the eyes and it damaged was in the NFB’s recording studio when the myth about the proverbial dog of a they were painstakingly recording some certain age not being able to get their of the ol’-timey music directly from a mind around new tricks but - wow - it’s majestic gramophone, the ornate sound Paso Doble so good to see Gratz getting her hands horn of which was made entirely out of Canada, 2011, 1’49 colourfully dirty painting with clay again. hand-crafted polished wood. Visitor after visitor brought the studio to a halt until the A sumptuously red visual orchestration of The film that has probably grabbed me the exasperated engineers banished us. This grace and passion. most, and on the most number of levels, level of attention to detail and a passion for Director Jamie Metzger recently is Ulo Pikkov’s Body Memory authenticity is a Tilby/Forbis trademark. It www.sheridanc.on.ca from Estonia. The sense of confinement is but a few seconds in a 13-minute film - and containment, of loss of control, of it just takes time to make this kind of film the unknown and the unseen persecutor this kind of way. And I plan to show them just beyond the wall is palpable. And the as long as they keep making them. imagery conjures reflections on some of the visions that still resonate as shameful horrors. Another fascinating consideration is that Pikkov is working his way through the suite of animation techniques and seems to be mastering them all in quick succession. And would it really be a LIAF if we didn’t show a Max Hattler film? His work Spin portrays a creative restlessness that is UK/France, 2011, 3’55 constantly searching for a new avenue of expression. Following his blog can be A complex choreography of re-animated bewildering; he seems to endlessly roam figures moving to the exquisitely around Europe showering the locals synchronised command of a master with one fascinating parade of visual manipulator. simulation/stimulation after another. I’ve Director Max Hattler never really talked to him about how he Producers Nicolas Schmerkin, Max Hattler taps this wellspring, it’s kind of weird, www.autourdeminuit.com when you’re in his company it never seems to occur to ask (and it’s usually the first thing I do ask). We’re also indebted to Mr Hattler for another reason. When launching the LIAF/Film & Video Workshop animation bursary this year we sent out emails to a hitlist of many of the UK’s most talented animators asking for assistance in helping the next generation of animators

14 Villa Antropoff Independent Mind Body Memory Estonia/Latvia, 2012, 13’00 (Independencia de Espirito) (Keha Malu) A condom found on an African beach Portugal, 2011, 10’00 Estonia, 2011, 9’00 is an impulse for a man to set off on a Clelia, a woman comfortable in her Many memories dangle by the finest of dangerous sea journey to Europe, in search solitude, begins talking to her plants. threads, which are being pulled by forces of a better life. Odd, she thinks, until she learns that her out of sight and out of control. Directors Vladimir Leschiov & Kaspar neighbour talks to her pots and pans. Director Ulo Pikkov Jancis. Director Marta Monteiro Producer Arvo Nuut Producers Vladimir Leschiov & Kalev Producer Sardinha Em Lata www.nukufilm.ee Tamm. www.curtas.pt/agencia www.lunohod.lv

Natural Urban Nature Fata Morgana Wild Life South Korea, 2011, 4’32 Holland, 2011, 4’17 Canada, 2011, 13’30 An exquisite and simply beautiful depiction Burning in the desert sun, Eduardo – the Alberta, 1909. The wide, open prairies of of nature in the urban city. only lemonade seller around – is fighting the wild west. Enter a well-tailored young Director Min-ji Kang the urge to drink his last and final bottle Englishman, fresh from the ‘old country’. Producer Min-ji Kang of sweeeeet, coooool lemonade. Directors Wendy Tilby & Amanda Forbis www.kiafa.org Director Frodo Kuipers Producers Marcy Page & Bonnie Producer Chris Mouw Thompson www.illuster.nl www.nfb.ca

My… My… Kubla Khan China, 2011, 4’32 USA, 2011, 3’41 Where are my clothes? Give them back! Simply stunning! Gratz returns to the Give them back! gorgeous, morphing, coloured clay Director Lei Lei technique of her masterpiece Mona Lisa Producer Lei Lei Descending A Staircase with this soaring tale from inside Zanadu. www.raydesign.cn Director Joan C. Gratz Producer Joan C. Gratz www.gratzfilm.com

15 (15) International 3 Programme at the Barbican Sat 27 October 16:00

La Détente France, 2011, 8’10 It feels like there is something of a by many. By and large, the effect of Paralysed with fear and stuck in a trench, a ‘new-new’ generation of animators blending these two visual styles together soldier's mind disconnects from the horror emerging in Estonia in the wake of is deftly handled and it is pretty interesting and escapes to a world where wars are the likes of Priit Tender, Ulo Pikkov to see such an established filmmaker as fought by toys. and Kaspar Jancis, who represent a Schwizgebel – a filmmaker so definitively Directors Pierre Ducos, Bertrand Bey generation that grew up under the old tied to such a specific style – step out of Producers Pierre Ducos, Bertrand Bey, Russian regime but who largely came his traditional circle. Kawanimation of age and developed professionally www.ladetentelefilm.com after Estonia achieved independence We don’t screen enough of Erick Oh’s and freedom in 1991. films. Not quite sure why, but I am on a mission to redress this. We showed Heart’ However, while the ‘new-new’ animators last year and it screened incredibly well, such as Kristjan Holm, Chintis Lundgren typifying his strong, simple-but-confident and Martinus Klemet have absorbed drawing style. His latest film, How To Eat plenty of the wistfulness and grasped Your Apple, moves Oh into a more digital some of the surrealist threads that stitched sphere, doing away with bold outlines and together the patchwork of drawn Estonian block colours BUT retaining his love of animation, they are less focused on the simple (some would say non-existent) examining their country’s complex and background. Dropping a mini-flash- sometimes perilous geopolitical position mob of characters into the middle of that often underpinned earlier Estonian the frame with nothing to interact with films. And they have mastered the whole except themselves is a pretty rare thing. The Goods Germany, 2012, 3’00 raft of modern digital drawing devices. Risky too, in the wrong hands. Bright A man, a baby in a buggy, a child and a white backgrounds can be an illuminating balloon. In times like these even a simple Programme 1 featured Big House (Kristjan energy source if the front-and-centre walk is unbearable. Holm) which cracked me up when I first action is up to it and Erick Oh seems saw it screened at its home-ground festival Director Lars Jandel to have just instinctively harnessed this Producer Lars Jandel in Tallinn and it is an outstanding example power. of this emerging trend. Programme 3 www.larsjandel.de also contains a noteworthy example that I’ve always liked Patrick Jenkin’s films. amply illustrates this point. About the Hard There’s a kind of very hands-on honesty to Life of a Barn Swallow is just one of three the visuality of much of his work. His films films that Chintis Lundgren submitted. transmit that sense of directness and it is Volli Pal also made the grade and screens easy to see the marks left by his brushes. in Programme 5. Other than her drawn This sense was perhaps lost a little in style, there isn’t a lot that her films have in some of his earlier digital works such as common. Some are situated in Estonia; The Skateboarder (2006) but even that some in environments that hybridise had a cut-out feel to the digital character. Tex-Mex and pseudo-Euro spaces. Some His latest film, ‘Sorceress’, sees him are intense, intriguing character studies working in the paint-on-glass technique while others arguably work through the that he has previously employed so processes of deconstructing a relatively lavishly in films such as Inner View (2009) How To Eat Your Apple recognisable character down to a series and Labyrinth (2009). Another very big tick South Korea, 2011, 1’30 of disassembled and surrealised pieces. is Jenkin’s love of telling a good story and Apple eating as a Daliesque spectacular Her themes are as broad as environmental his ability to pull it off with style and clarity. spectator spectacle. awareness, gay culture and UFOs. Director Erick Oh Any new Georges Schwizgebel film Producer Erick Oh is a noteworthy event in the world of www.kiafa.org animation. Romance was co-produced with the NFB. It definitely moves like a Schwizgebel film with plenty of dizzying camera turns and all the dramatic, prolonged simulated dolly (or ‘travel’) shots for which he is renowned. And while a great deal of the film is also in his recognisable, heavy paint-on-board style, much of it is delivered in a divergent fine-lined, pastel coloured, much- more- illustrative style – one that would not be immediately connected to Schwizgebel

16 Stopover Switzerland, 3'00, 2011 Idiot, space, delivery boy picks the wrong pyramid for a toilet stop. Gristle Director Neil Stubbings The Shoemaker Australia, 2011, 3’30 Producer Neil Stubbings (O Sapateiro) Life hanging on a hook is as much about www.lemob.ch Portugal, 2011, 12’00 perspective as fate – not that fate pays any A shoemaker, wrapped up in the memories attention. of his life and the demands of his work, Director Jamie Clennett experiences a crucial moment in his Producer Jonathon auf der Heide existence. www.abitofargybargy.com Directors David Doutel & Vasco Sa Producers Sardinha Em Lata & Ib Cinema www.curtas.pt/agencia

The Pub UK, 2012, 7’45 Kemi lives and works in the murky slipstream of a North London pub. As the booze flows the line between who belongs behind and in front of the bar becomes increasingly blurred. Director Joseph Pierce Producer Mark Grimmer About the Hard Life of a www.josephpierce.co.uk Rew Day Barn Swallow Estonia, 2011, 5’00 Bulgaria, 2012, 6’40 The life of a Barn Swallow is not easy, A rewound review of one man's last day. bigger birds are pesky and the barn is Director Svilen Dimitrov locked at night. Producer Svilen Dimitrov Director Chintis Lundgren www.svilendimitrovfilm.blogspot.co.uk Producer Chintis Lundgren www.chintislundgren.com

Romance Switzerland, 2011, 7’21 The very latest offering from one of the world's living masters tackling one of the world's biggest topics. Director Georges Schwizgebel Producers Marc Bertrand, Rene Chenier, Georges Schwizgebel Stuck in a Groove www.nfb.ca Sorceress Austria, 2010, 4’05 Canada, 2012, 9’00 What do Madonna, Massive Attack and When a young woman is kidnapped her Angela Merkel have in common? Friedrich sister embarks on a perilous journey to Nietzsche might be the answer to this rescue her from an evil sorceress. question. Director Patrick Jenkins Director Clemens Kogler Producer Patrick Jenkins UK, 2010, 5’30 Producer Sixpackfilm The Tannery www.interlog.com/~pjenkins/latestnews. www.clemenskogler.net A recently deceased fox has a life after death html experience. Director Iain Gardner Producers Richard Scott and Anke Hilt www.iaingardner.co.uk

17 Many Go Round Japan, 2011, 6’00 A certified can't-believe-my-eyes piece of animation made of ingeniously cut paper silhouettes formed into a kind of phenakistoscope. Director Yoshihisa Nakanishi Producer Yoshihisa Nakanishi www.members3.jcom.home.ne.jp/ oneminute/index.html

(15) International Programme 4 Recent Japanese The People Who Never Stop Shorts Japan/France, 2012, 3’30 The story of a crowd who never stop, for at the Barbican Sat 27 October 19:00 better or worst. Director Florian Piento Producer Florian Piento www.florianpiento.com

Hiding behind the monolith that animation (animating the movement of is Anime is a special world where aqueous ink in water). independent Japanese animation resides. Coming to life usually as Atsushi Wada’s (winner of Best Film at small private productions, many of LIAF 2011 for In A Pigs Eye) sparsely the flms position us as peeping toms drawn comic / tragic films feature secretly peering into uniquely private dimwitted characters drifting through worlds. absurd, tedious and repetitive situations; stone faced fools swept into a dark farce This sense of isolation and alienation they can’t comprehend, change or enjoy. reveals the uniquely personal styles and In this programme we have his two most And And mindsets of the artists. As the films take us recent short films The Great Rabbit, Japan, 2011, 6’50 inside the complicated minds of different (winner of the Silver Bear at the Berlin Film generations of Japanese animators this Festival), and The Mechanism of Spring. Stunning, rhythmic, abstracted animated programme also introduces us to a wide images pour across the screen in this range of independent animators ranging music clip made for Toru Matsumoto from masters to emerging talents. (Psysalia Psysalis Psyche) Director Mirai Mizuie Mirai Mizue’s film And And features his Producer Mirai Mizuie distinctive “cell” animation technique (not to be confused with “cel animation”) of using an organic cell as the basic shape for his abstract designs. The cells sometimes swim along like amoebae, or they join together to form the most fantastical creatures. Like the work of Norman McLaren or Oskar Fischinger, special thanks to there is also a direct relationship between music and movement in Mizue’s work. A true innovator, Mizue experiments with a range of animation techniques including geometric animation and water-surface

18 The Great Rabbit Dreams Japan, 2012, 7’10 Japan, 2011, 6’00 A young boy worships his beloved rabbit. The final collaboration between legendary pop artist Keiichi Tanaami and the late, Director Atsushi Wada great Nobuhiro Aihara. Eye-popping, Producer Ron Dyens warped imagery to feed your head until it Specimens Of Obsessions www.kankaku.jp explodes! (Hyouhon No Tou) Director Keiichi Tanaami Japan, 2011, 12’08 Producer Keiichi Tanaami The centipede of punishment, an www.c-a-r-t-e-blanche.com ephemera of obsessions, the leech of closure, a snail of escape, and of course the cockroach of usual life. Director Atsushi Makino Producer Atsushi Makino

Pieces of 3.11 The Mechanism of Spring Japan, 2011, 2’17 (Haru no Shikumi) On 11 March 2011, a tsunami struck Japan Japan, 2010, 4’20 and spread fear along the coast, but also in Oh my, how things happen in Spring! Buds the rest of the country and the whole world. are bursting and your body is filled with The devastation and anxiety found its way energy. to the media and appeared on television, Director Atsushi Wada sharply contrasting with entertainment Producer Atsushi Wada programmes with canned laughter and applause. www.kankaku.jp Director Kotobuki Shiriagari Yonalure: Moment To Producer Toshiki Mochizuki Moment Japan, 2011, 7’53 Pure animation magic! A tour of arcs and soaring glides that ever ebb and rise through a village as it attempts to separate from the moon. Directors Ayaka Nakata & Yuki Sakitani Producers Ayaka Nakata & Yuki Sakitani www.ayakanakata.net 663114 Columbos Japan, 2011, 7’00 Japan, 2012, 9’15 I am a 66-year-old cicada. There was a big earthquake. There was a big tsunami. A homicide scene with the corpse of an There also was a big accident. actress dressed in red, a man with a gunshot wound, and an internationally Director Isamu Hirabayashi well-known detective. Is this the climax Producer Isamu Hirabayashi scene from some drama? Or is it a murder www.hirabayashiisamu.com that took place during the shooting of a film? Director Kawai Okamura Producer Kawai Okamura www.c-a-r-t-e-blanche.com

19 (15) International 5 Programme at the Barbican Sun 28 October 18:00 A Different Perspective Paul Driessen just keeps turning out from the surrealist visual orgy of Ireland, 2012, 1’55 zany animated gems in that quirky, Asparagus to her latest short, the haunting A visit from an alien life form results in a immediately identifable style that he Visitation, which is back with us at LIAF shift in perspective in more ways than one. has made all his own over a 45-year 2012 screening here in competition in this Director Chris O’Hara career. He has produced more than programme. For those who were unable Producer Chris O’Hara 20 of his own flms, worked on The to attend the historic Horse Hospital Yellow Submarine, collaborated with screening you can check out the video clip www.adifferentperspectivefilm.com people such as Joanna Priestley and we’ve posted on our Daily Motion channel Marv Newland, and even made a of the Q and A that night. flm in conjunction with his son Kaj Driessen (The 7 Brothers, 2008). I personally find Stephen Irwin, singularly, one of the most intriguing animators out A wry, slightly acerbic sense of humour there. If you want to lock onto a rising patrols the perimeters of many of his talent with the word unique stamped/ films, launching sneak attacks at the scrawled/gouged onto the look, the most improbable moments often clearing sound and the entire conceptual platform the path for the plot to split off in a new of his or her work, Irwin is a damn good direction or offering up one more new candidate for the mantle. Moxie is vintage perspective that might help us absorb Irwin (if it’s not too early to declare such what’s going on. His latest film, Oedipus, a thing). It peddles a perplexing kind of Aalterate ticks every Driessen tone and style happy cruelty that is hard to categorise France/Netherlands, 2011, 9’44 box. Trying to find a different take on – sort of like a Monty-Python-meets- Diving into a coma, a female body the Oedipus fable must be a fine line to Charles-Manson-as-a-boy oxymoronic experiences extreme inner tension. Its walk. With shallow clowns to the left and disposition. These films of his must be mutating silhouette gradually invades dangerous jokers to the right, Driessen bloody hard to storyboard and harder still an empty space to a point of complete avoids “getting stuck in the middle with to explain to funders (and parents). I know saturation. you” by telling the story backwards. It they’re tricky devils to explain in detail to Director Christobal de Oliveira works gloriously and the fellow with the the film classification ‘powers that be’. Producers Nicolas Schmerkin & Richard detachable head just adds to the finely Valk tuned, understated nuttiness of it all. www.aalterate.com For more than three decades Suzan Pitt has been an internationally renowned creator of beautiful, strange and fiercely original animation. Perhaps because her breakthrough film Asparagus accompanied Eraserhead on the midnight movie circuit, the work of Suzan Pitt has often been compared with that of David Lynch. He has talked about fishing the subconscious for his ideas, and it’s clear that Pitt sets out from a similar place; led by dream logic and a process of ‘interior Alimation sense-making’, with no clear idea of an France, 2’48, 2011 end goal. The result is a small but unique A cool, cute little animated film made out of body of work, tricky to pin down or explain smarties, chocolates and yummy cake. but like works of visual poetry, bursting Director Alexandre Dubosc with surreal and sometimes disturbing Producer Alexandre Dubosc images capable of crawling under your www.alexandre-dubosc.com skin in unexpected ways. An artist with a singular vision, LIAF welcomed Suzan Pitt to the Horse Hospital to present her body of work and take part in a Q & A on 31st March this year - one of the highlights of our year and for those lucky enough to be in the audience that night, hopefully a highlight for you too. We were thrilled to be able to bring our audience a rare retrospective featuring all of Pitt’s key works

20 Volli Pall Countdown At the Opera (En La Opera) Estonia, 2010, 11’44 UK/France, 2011, 3’43 Argentina, 2010, 1’00 Volli is a tour guide and susceptible to An animated ode to the golden age of A very moving night at the opera. many paranormal activities. space travel. Director Juan Pablo Zaramella Director Chintis Lundgren Director Celine Desrumaux Producer Sol Rulloni Producer Chintis Lundgren Producer Celine Desrumaux www.zaramella.com.ar www.chintislundgren.com www.passion-pictures.com

What else is the Bobby pin Visitation Moxie good for? (Meg mire jo a USA, 2011, 9’00 UK, 2011, 5’45 hullamcsat?) Hungary, 2010, 2’30 Inspired by hearing wolves crying and A sad face, a dead bear, a subdued Director Roland Toth-Pocs simultaneously reading H.P. Lovecraft, detective and a ‘lemon enema’. Producer Ferenc Mikulas Visitation unwinds through a dark Director Stephen Irwin We usually throw out useless odds and landscape of unending life and death. Producer Stephen Irwin ends but this object takes great offence at Director Suzan Pitt www.smalltimeinc.com being forced to live in exile. Producer Suzan Pitt www.kecskemetfilm.hu www.home.earthlink.net/~suzanpitt

Sweetheart My Music Oedipus (Sizyj Golubochek) Portugal, 2011, 9’07 Canada, 2011, 13’18 Russia, 2011, 12’00 Steve16 is trying to find a nice quiet place A stunning tour-de-force from the A man passes the same train station at where he can listen to his music on his legendary Paul Driessen, animating at his different stages of his life. mp3 player. absurdist best. A parody of the classic Greek myth with a few of the best known Director Ekaterina Sokolova Directors Tiago Albuquerque & Joao Braz NFB characters thrown in to thicken and Producer Ekaterina Sokolova Producer Humberto Santana spice up the dish. www.animanostra.pt Director Paul Driessen Producers Marcy Page, Arnoud Rijken & Michiel J. Snijders www.nfb.ca

21 (15) International 6 Programme at the Barbican Mon 29 October 18:30 The Tender Wife France, 2011, 8’33 Along with the bad weather, this woman changes her partners as often as she does her shirts in this musical adaptation of a I’ve loved every one of Simone in action you could literally see his passion Chekhov tale. Massi’s flms. The grace, delicacy and for the artform inspire and edify these Director Anne Larricq pure glorious craft of his artwork is lucky students. This quote just about Producer Laurent Pouvaret simply superb. But the way in which sums his attitude up: he translates that artistic vision into the animated realm is what elevates his work to a higher notch on the In a perfect world totem. I would never do Entire landscapes morph, perspectives anything unless I alter subtly but profoundly, our eyes are loved it, so, as much teased and intrigued. All of this happens as possible that’s right in front of us, in full view. Nothing is “ what I try to follow… hidden from our gaze and yet we still don’t I don’t want to be quite see it happening or how it’s done. This is a master at work. rich or famous – so basically if I can pay The Back Room Animated using woodblock prints, Sun my rent and eat Austria, 2011, 5’30 Xun’s film Some Actions Which haven’t Been Defined Yet in the Revolution that’s enough. A door opens, the decision to enter is a uses pulsating, hallucinatory imagery mistake. No way out and the only view Malcolm Sutherland to evoke a Kafkaesque atmosphere of is that of a single sparse tree in front of a grotesque anxiety and vague ideological desolate city. constrictions. “I only ask questions,” says Directors Michael Kren & Mirjam Baker animator Sun Xun. “It’s up to the viewer Producers Michael Kren & Mirjam Baker to think about what he has seen. And to www.mikekren.at come up with his own answers.” Coursing through the film’s narrative is the logic of dreams, its landscape a torrent of ineffable, dark emotions. The soundtrack only amplifies these feelings. The world constructed by Sun Xun in this film is unsettling, the stuff of nightmares. We don’t get to see many Chinese animated short films at LIAF but we are looking into digging a bit deeper. I feel a new programme coming on! Montreal-based Malcolm Sutherland is a The Women’s Day Gift busy guy, creating self-initiated short films, (Podarok) many of which have screened at past Russia, 8’35, 2010 LIAF’s, ranging from abstract wrestling Little Misha draws a card for his favourite matches Bout (2011) to Mayan-inspired girlfriend at school, but the hardest task space travel The Astronomers Dream, is still ahead of him – to reveal his true (2010). His latest short A to B, screening feelings for her. here, was initially created purely for the Director Mihail Dvorjankin enjoyment of his son Max. A to B simply Producer Valentina Khizhnyakova asks... “What's the quickest way from A to B?” A basic premise turned into a clever little animation. Malcolm’s a true gent. I was lucky enough to spend a week in his company at the Animasivo Festival in Mexico City in 2010 where Malcolm was presenting his films and helping run a workshop for some Mexican animation devotees. Seeing him

22 Resale Right Some Actions Which haven’t Night Sounds (Le droit de suite) Been Defned Yet in the Sweden, 2011, 5’50 France, 2011, 2’20 Revolution (Yi Chang Ge Everyone should be sleeping. But what’s The art dealer finds sharing very hard with Ming Zhong Hai Wei Lai De that under the bed? A spooky short with the artist. A witty and elegant look at the art Ji Ding Yi De Xing Wei) nods to Saul Bass and John Carpenter. market in a typographic style. China, 2011, 12’22 Director Jacob Stalhammar Director Pierre Emmanuel Lyet It’s a strange day. An unidentified figure is Producer Jacob Stalhammar Producer Virginie Giachino living in an alien environment full of surreal www.jacobstallhammar.com/nightsounds. www.doncvoila.net politics and ideological colours. html Director Sun Xun Producer Sun Xun www.sunxunandp.com

Tram Seven Minutes in the (Villamos) Warsaw Ghetto Hungary, 2010, 5’45 Denmark, 2012, 7’48 A series of random encounters slips past The Maker The Warsaw Ghetto, 1942. An 8 year-old a passenger on a tram in a sumptuous, Australia, 2011, 5’17 boy peeks through a hole in the ghetto wall abstracted line composition. A strange creature races against time to unaware that two SS men are following his Director Rozi Bekes make the most important and beautiful every move. Producer Bori Mezei creation of his life. Director Johan Oettinger http://rozibekes.blogspot.co.uk Director Christopher Kezelos Producer Ellen Riis Producer Christopher Kezelos www.basmatifilm.dk www.zealouscreative.com

A to B About Killing The Pig I Saw Mice burying a Cat Canada, 2011, 2’47 (Dell’ Ammazzare Il Maiale) (Ya videl kak mishy kota What’s the quickest way from A to B? Let’s Italy, 2011, 6’20 horonili) China, 2011, 5’30 find out. Rural life is often full of harsh, simple, This story begins romantically, continues as Director Malcolm Sutherland beautiful truths – the most natural of a farce, turning into a thriller, but ends up Producer Malcolm Sutherland realities. as a high tragedy. www.animalcolm.com Director Simone Massi Director Dmitry Geller Producer Simone Massi Producer Liguo Zheng www.simonemassi.it www.geller.ru

23 (15)

International Programme7 Into the Dark at the Barbican Mon 29 October 20:45 at the Horse Hospital Wed 31 October 21:30

The one thing these 7 flms have in powerfully, Purves’ strongest suite of heroic, claustrophobia, like a freaky anime movie. common is that they are some of the mythical, rise-and-fall tragedies. The use Heidmets’ animation is otherworldly—and creepiest, darkest flms made in the of pure black background intensifies this in fact it practically is: he is another of last 18 months. effect; simultaneously concentrating our those astounding animators from Estonia, senses directly onto the central character a land of intense animation since the Barry Purves is widely recognised as one whilst playing with our ability to wrap beginning of cinema. When I saw this in of the best ever puppet animators. He the tentacles of our imagination around Lithuania it was the film most people were stands with the likes of Willis O’Brien, Ray the firm handles of a sense of depth talking about and puzzling over. I didn’t Harryhausen, Jiri Trnka and Kihachiro and perspective on the space that the understand the film on first viewing. It took Kawamoto as one of the true greats character inhabits. We simply cannot tell if me another couple of looks before I fully of the form. His films are often epic in our imperfect, embattled and hunted hero digested it, but it’s well worth the effort. their dimensions and in the emotion is rushing towards the dubious salvation of that they radiate, conjured with the use endless black space or headlong into the of passionate operatic themes that crushing reality of a solid wall neither he supercharge highly dramatic renditions of nor we can see. Greek myths and tales of soaring tragedy. Anja Struck’s film How to raise the Moon The extraordinary degree of sophisticated came out of nowhere and is probably the theatricality presumably has a lot to do single most creepy and eerie film we’ve with his intimate knowledge of the stage; seen in a long time. It’s a terrific example he is an accomplished set designer and of strange beauty and an unabashedly has directed and acted in numerous explicit homage to the Brothers Quay. productions. Although rating his stage The Cologne, Germany-based Ms.Struck acting as the lesser of his passions, creates an original allegorical storyline he nonetheless credits it with being a in which Death and Sleep contest the vital lesson in teaching him how to act soul of a young woman. It's a perfect with his puppets. That’s an interesting idiosyncratic vision, revealing the winner in observation and goes a hell of a long a final moment worthy of the 16th-century way to explaining the uniquely potent portraitist Giuseppe Arcimboldo. levels of sheer primeval humanity that his puppet characters exude. Purves Rao Heidmets Coming of Oracle uses has two current films screening at LIAF knitted puppets to animate a parallel - Plume (International Programme 7) heaven and hell where you’re forced to and Tchaikovsky: An Elegy (International have your skin removed. While the knitted Programme 1). puppets excessive partying, force-feeding, and high chatty voices are humorous, In this programme Plume plays so there is a blatant sense of fear and

24 Underlife Bydlo Poland, 2010, 8’32 Canada, 2012, 8’55 The cyclical nature of existence combines Inspired by Mussorgsky’s Pictures At An with the past and the future to pursue the Exhibition - earth is brought to life through destructive influence that ancestors have clay sculptures, creating a tactile nightmare on man. Coming of Oracle in which man is his own slave driver. Director Jaroslaw Konopka (Prohveti sünd) Estonia, 2011,13’00 Director Patrick Bouchard Producer Michalina Fabijanska & Zbigniew Human beings are slaves to their Producer Julie Roy imagination. To be free of it is a long and Zmudzki www.nfb.ca complicated journey which requires, above www.se-ma-for.com all, a good memory. Director Rao Heidmets Producer Arvo Nuut www.nukufilm.ee

Blanche Fraise Canada, 2011, 16’44 Two rabbits are starving to death in this sinister fairy tale in a dying forest. Director Frederick Tremblay Producer Frederick Tremblay

Black Doll (Prita Noire) Mexico, 8’10, 2011 Two sisters are bonded and bound by co-dependence, separation anxiety and routine in this creepy mix of time-lapse and Plume puppetry. France, 14’40, 2011 Director Sofia Carillo A thrilling screening of Purves' latest How to raise the Moon Producer Sofia Carillo, Alex Briseno & masterpiece. A winged man, a fall, a hostile Germany/Denmark, 2011, 8’27 Carolina Cardenas encounter, a life changed forever. In a place of condensed time, sleep (a fox) Director Barry Purves and death (a bunny) fight for a woman’s life Producer Wendy Griffiths in this homage to early surrealistic silent www.darkprince.fr cinema. Director Anja Struck Producers Anja Struck & Tim Leborgne

25 (15)

International Programme8 Long Shorts at the Barbican Tue 30 October 18:30

Some flms just need extra time to a trilogy that now closes with this film in develop their themes, grow and draw Programme 8, the just-completed It’s Such us more comprehensively into their A Beautiful Day. Over the course of the worlds. This competition programme three films, the trilogy’s stick-figure hero, is dedicated to showcasing the best of Bill, confronts an unidentified but evidently these longer flms. If you fnd the regular life-threatening illness that eventually lays competition programmes a bit of a roller coaster ride, this screening is your waste to his conscious mind, a degradation animation limousine. rendered no less terrifying for the fact that Bill’s essentially a black-and-white blob with I can’t remember the first timeI saw The legs. Making Of Longbird by Will Anderson, but a Imagine ‘The Tree Of Life’s’ dawn-of-creation lot of the charm was lost to me initially. Then It’s Such A Beautiful Day sequence recreated with electrical tape and it started picking up awards, getting invited USA, 2011, 23’00 Popsicle sticks to equally dazzling effect, to festival after festival (and winning!) and I and you’ll have some idea of the magic that The final part of the much-loved snuck into the end of a screening at Anifest animator Don Hertzfeldt can work with stick trilogy blending traditional animation, in the Czech Republic just to watch it again. figures and construction paper. A one-man experimental optical effects, trick This time was a different story. It is pure fun, operation in a medium overwhelmingly photography, and new digital hybrids. Bill a kind of meta-film, mockumentary take on dominated by the industrial model, Hertzfeldt finds himself in a hospital struggling with the joys and horrors (real and imagined) of has built a dedicated following over the past memory problems in an attempt to piece making an animated film. Clever without two decades. Of course Don graced the together his shattering psyche. being smart-alecky; a tricky double to pull stages of the Curzon Soho at a special LIAF off and ‘Longbird’ does it better than most. Director Don Hertzfeldt event three years ago with a retrospective Nice work! Producer Don Hertzfeldt screening and Q and A and immediately after www.bitterfilms.com Don Hertzfeldt is of course no stranger to the screening he could be found selling his LIAF audiences, his films continually winning DVDs and autographing them for very many audience and judge awards. It’s with great happy punters. A great guy. pleasure that we present the long-awaited third part of Don’s ‘Bill’ trilogy. With 2005’s The Meaning Of Life, Hertzfeldt began mixing his pencil animations with elaborate in-camera effects, and his ambitions took another leap the following year with Everything Will Be OK, the first part of

26 The Making of Longbird UK, 2011, 15’18 A behind-the-scenes look at the battle royale raging between an animator and a character that just won’t do what it is commanded to. Director Will Anderson Producer Donald Holwill www.whiterobot.co.uk

Oh Willy Belgium, 2012, 16’35 After his mother’s death, Willy returns to the nudist community where he grew up. He is saddened by his memories, and decides to head out into the countryside, and finds the maternal protection of a big hairy animal. Directors Emma de Swaef & Marc James Roels Producer Ben Tesseur Edmond was a Donkey (Edmond etait un ane) www.beastanimation.be Here and the great France, 2012, 15’04 elsewhere (Le Grand Ailleurs Edmond is not like everybody else. A small, et le Petit Ici) quiet man, Edmond has a wife who loves him and a job that he does extraordinarily Canada, 14’25, 2012 well. When his co-workers tease him by Lost in a reverie, a man reels with sudden, crowning him with a pair of donkey ears, piercing awareness of his own state of he suddenly discovers his true nature. being. He ponders the world in which he And though he comes to enjoy his new lives—from the evolution of life and the identity, an ever-widening chasm opens up atomic particles that constitute matter, to between himself and others. the mystery of memory and the enigma of Director Franck Dion death. Producers Richard van den Boom, Franck Director Michele Lemieux Dion & Julie Roy Producer Julie Roy www.edmondwasadonkey.com www.nfb.ca

27 Our annual showcase of abstract animation rolls around again. It’s one of the most interesting, challenging and rewarding parts of the festival to programme. To me, abstract animation (whatever that might wind up meaning) is a kind of obvious pathway for an animator to eventually head down and for an audience to seek out, appreciate and absorb; a kind of easy-grasp answer to the ‘what next?’ question that artists and audiences ask when they are pushing their imaginations further and further. ‘Carbon’ USA, 2011, 4’45 Director Dylan Ladds

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International Programme 9 Abstract Showcase at the Barbican Sun 28 October 16:00

For an artform within which virtually the glass-half-empty festival director can’t the notes themselves, so can all cinema every participant produces something help but wonder why more don’t make be as much about what we perceive that has a whiff of the abstract, the the short journey across the threshold; the or imagine could be happening outside surreal or, at the very least, the slightly physical barrier is non-existent, the films the frame we are presented with. It’s a unreal about it, this just seems to be accessible to anybody who can obtain a lesson worth dragging into many galleries, simple and compellingly logical to me. ticket. theatres, boardrooms or natural vistas. But it’s that kind of wide-of-the-mark, A case can be made that abstract In any animated film, every single semi-delusional thinking that gets me in animation is the R&D engine room of the component has to be wilfully included trouble time and time again and that has animation world. The best of them delve and placed by the animator. In abstract landed me in jobs like running animation into the very DNA of moving-image art, animation the fundamental elements festivals. The most obvious flaw in that relying entirely on the most intricately of colours, shapes, shades, lighting hall-of-mirrors logic is that many, many sophisticated understanding of the very and background carry exponentially animators strive to move in the exact fundamentals of what it takes to make more weight because they carry the opposite direction, attempting to bring images appear to move and what it takes show. Seeing how an artist chooses to more clarity to their artwork and more to match that avalanche of imagery with a manipulate, craft and present these can structure to their narratives as they compelling and provocative (or enticingly be like a free ride on a journey that helps develop in their careers. complementary) soundtrack. us appreciate and re-evaluate so many aspects of the world around us; a world Generally speaking, it takes a very long Within the five-minute world of that five- which we must interpret in our own way time to make any animated film and there minute abstract, animation is a parallel and attempt to make sense of. On this are a limited number of films within any universe that revels in its discovery and level, abstract animation can act as a given animator, so, by necessity, they display of the most elemental nature of kind of intensely valuable source code, have to be judicious about the kinds of the art of animation. This cannot only be moulding, informing and re-empowering films they invest their creative and financial enjoyed at its face value but provides a the imaginative tools that already exist resources in. One person’s logical pathway treasure trove of ideas and insights that within most of us. is simply another’s drain. can fuel our appreciation of other films, artworks and the world in which we Many - or most - of us lose a lot when But I understand the niche status of attempt to exist. we become adults. The real complexities abstract animation a lot less when it of the world etch their spindly way into comes to audiences. The maximum They can examine the limits of the our subconscious and slowly but surely time commitment asked of an audience very frame within which all cinema is grey-wash out some of the most beautiful member to watch a five-minute film necessarily fixed and then teach us how things that are right in front of us. We is, well, five minutes. It is an intensely that frame can be breached purely with surrender, or have torn from us, the right satisfying experience to see so many the power of our own imagination. Just to just like something because we like it. people walk through the door to watch as jazz music can so often be about what The social barometric pressure to believe the Abstract Showcase each year but happens between the notes as much as that every facet of our existence needed

28 for societal navigation should have, needs prolific British duo of moving-image, to have, or must have a narrative of some screen artists Ruth Jarman and type squeezes on our eyes and ears until Joe Gerhardt, otherwise known as we acclimatise to it and accept the more Semiconductor. Their work has had a vast intensified existential atmosphere. number of screenings and exhibitions in galleries, cinemas, festivals and events Case in point: LIAF regulars or fans of all over the world. They have received direct-to-film animation will know Steven numerous commissions, their work Woloshen. He scratches and paints has been purchased for the permanent images directly onto filmstock. No camera collection of the Pompidou Centre in required. And he has an absolutely Paris and they have received fellowships AE Poland, 2011, 3’15 uncanny ability to match this hand-created and residencies at organisations in A simply brilliant tribute to Abstract imagery perfectly with music, especially Europe, England and the US including jazz music. To spend any time with him is Expressionism utilising coloured water a Smithsonian Research Artists painted on vanishing image paper. A play to witness a man who simply cannot stop Fellowship in 2010. 20Hz is a pretty of moving lines and splashes set to jazz drawing, doodling and sketching. He must typical Semiconductor piece and an music. have literally hundreds of sketchbooks and absolute wonder to behold creating a journals stored somewhere (I assume he Director Marcin Gizycki kind of moving sculpture made from the Producer Marcin Gizycki keeps them). This plethora of images both manipulated data of a recording of a geo- feed into and help him extract and unpack magnetic storm above the Earth. the relatively tiny number of images that he eventually commits to film for us to see. His films sparked one of the greatest, simplest and most incisive critiques I have ever heard, which came from Ottawa Animation Festival director, Chris Robinson, who said, simply, that he liked Woloshen’s films “because they make me feel good”. And so what of this year’s Abstract 20 Hz UK, 2011, 5’00 Showcase. It is heavy on handmade films A fascinating and mesmerising animated this year. It also strikes me that another form created directly from data of a hallmark of the programme this year is the geomagnetic storm in the earth’s upper number of more complex and/or more atmosphere, collected by the CARISSMA technically involved films by filmmakers radio array telescope. whose work we have screened in recent Directors Semiconductor (Ruth Jarman & years. Joe Gerhardt) Producers Semiconductor (Ruth Jarman & A good example is the opening film AE by Joe Gerhardt) Marcin Gizycki. He animates with coloured water swatches. His film last year, www.semiconductorfilms.com Aquatura, was beautiful and intriguing but in AE he seems to have taken firm control of the technique and is confidently wrangling it to perform to his will. The result is a truly unique screen experience. Steven Subotnick’s new film, Two is just simply a delight to watch. It somehow uses less of the things that his previous films have manifested on screen but to greater effect. At heart, it is a pretty simple idea that masks well what would have France, 1’53, 2011 been some fairly complex animating to R.E.M. give us a short piece of moving-image art Dreaming … but on film! that makes us ponder the very process of Director Florentine Grelier committing ink to page. Producer Florentine Grelier Joanna Priestley gives us Eye Liner in www.cobayabook.blogspot.com what seems to be becoming one of her established styles now. It’s a kind of hyper-coloured digital ‘germ warfare’ style that first emerged in her 2005 film, Dew Line. But in Eye Liner she has fit more of everything into the frame and really has them moving to the beat. It’s all too much for the eye to take in in a single screening and is testament to her growing proficiency and confidence with digital animating technologies. We hardly ever screen films from the

29 Pop Canada, 2011, 3’08 One Second Per Day (Une Transition 89 Austria, 2011, 5’47 Enjoy this black and white, paint-on- Seconde Par Jour) A luxuriously complex, pulsating web of glass exploration of motion, texture, France, 2011, 7'19 interconnecting, digital, moving geometry. metamorphosis and sound. An abstracted One second of film per day – meaning 25 Director Lia interpretation of life on earth. drawings a day – every day, day after day, Producer Lia Director Rachel Moore for a year. A year well spent. www.liaworks.com Producer Rachel Moore Director Richard Negre www.fastturtle1976.com Producer Badlands Productions www.richardnegre.com

Sensology USA, 2010, 6’00 An intricately choreographed – yet hauntingly intuitive – animated visualisation of a landmark improvisational jazz performance. Director Michel Gagne Producer Michel Gagne www.gagneint.com Eye Liner USA, 2011, 3’53 Strings Australia, 2011, 1'08 A playful exploration of the human face, its In this colourful collection of hyper-colliding patterns and the cultural effigies that echo shapes, Ducroz continues his exploration facial features. of ‘Big Bang’ motifs evident in some of his Director Joanna Priestley previous films. Producer Joanna Priestley Director Benjamin Ducroz www.primopix.com Producer Benjamin Ducroz www.ducroz.com

The Firebird (Ognisty Ptak) Poland, 2011, 7’20 A painterly, colourful interpretation of Igor Stravinsky’s music. Director Andrzej Gosieniecki Producer Studio Mansarda

Carbon USA, 2011, 4’45 Two USA, 2011, 2’24 Carbon is one of the fundamental building An absorbing visual dialogue based on blocks of our existence; it is the thread by timing, gesture, mark-making and sound. which we hang; it is in the molecules that Director Steven Subotnick surround us – seen and unseen. Producer Steven Subotnick Chase Director Dylan Ladds www.stevensubotnick.com France/Netherlands, 2011, 13’00, Producer Dylan Ladds Director Adriaan Lokman www.dylanladds.com Producer Richard Valk An abstract pursuit that leaves you gasping for breath. www.lokmanfilm.com

30 Technique Focus Live Action/Animation Hybrid

The original plan, believe it or not, had figures perform realistic human-like tasks An even better example is provided by been to focus on montage or collage as within their overall story. Willis O’Brien (1886-1962) whose career this year’s LIAF Technique Focus. Apart climaxed with the creation of King Kong from a little internal controversy about The quick-fire assumption is that films in 1933 - as fine an example of mixing defining the difference between montage using this technique will necessarily live action and animation as you can get, and collage, we just didn’t really receive be substantially computer-generated and without a computer in sight. As an that many entries this year that made animation. The totality of our modern aside, there is a definite plan to co-curate best use of that technique. For reasons mediascape has conditioned us to make a retrospective of O’Brien’s work for LIAF that have been lost in the sands of time, this assumption, mostly due to the sheer 2013 or 2014 - you heard it here first. focusing on films that combine live action mass of live action / animation hybrid with animation seemed like an absolutely pieces we see. It would be surprising Zoom forward a hundred years (with a obvious next step and there were LOTS if a single ad break on any TV channel pit stop to pay homage to Who Framed of great entries that used the technique passed without an example appearing Roger Rabbit) and the computer has this year. – they usually oscillate riotously between come to dominate the space, particularly technically stunning and just flat-out awful. in the short film realm. Genres covered are The only downside was that it could easily weighted heavily with sci-fi, fantasy and re-kindle one of the most esoteric debates This avalanche of hybrid work has kicked horror titles. The integration is seamless. that bubbles away on the back-burner sand in our eyes though. Apart from cauldrons of the animation community igniting within our lower cortices a desire The finished products are often stunning about the lines that exist between to tootle out and buy something we don’t creations of worlds whose physical animation and special effects. There’s want, made by somebody who didn’t familiarity we can readily imagine ourselves the argument about the use of ‘motion enjoy making it, so that we can keep the being a part of but certain components capture’ and whether it is animation landfill industry sector good and busy, it within those worlds, alien to our everyday at all. Motion capture typically sees an also shades the very history of animation consciousness, attack our sense of actor dressed in a special suit covered as a cinematic medium, both in terms normalcy from within. in sensors that transmit information of it being an artform and as a more commercial form of entertainment. That is one of the most unique features precisely capturing the actors motions of this form of animation and was one of in a computer which then uses that One of the great things about cinema is the key criteria in selecting the films that information along with footage of the that we know its WHOLE history. We are wound up in this programme. Live action actor to ‘animate’ a totally different looking starting to run short of people who were / animation hybrid films of this type sit at character. there at its beginnings but we are not yet an interesting junction in the wider realm of So, some dude dressed up a bit like a six degrees removed from them. Printing general animation. The technique is used bleached out Spiderman with a thousand presses existed then to publicly record on such a vastly wide public scale to sell fairy lights stitched into his magic lycra its history, schools existed to study its us things that we barely register we are leotard suddenly turns up on the screen making and appreciation and we have seeing it. At the same time it forms the as a singing dancing bear. The ‘Mo-Cap’ a fair amount of the original cinematic absolute backbone of gaming culture, one debate is about as much fun as you can material that was created. It’s anybody’s of the most participated in activities on have with your clothes on at a festival but, guess when the first painting was made, the planet, and it is an engine for creating sadly for those armed and ready to carry or the first novel or poem was written and a form of purely auteur, independent on that debate, that’s not really what this we have no hope of really knowing what animation that both revels in and fights programme is looking to cover. the first operas and classical music pieces against some of the most inaccurate really sounded like. But cinema is different stereotypes that animation as an artform This programme looks to showcase films - it is human-kind’s most recent artform has to deal with. And to some extent, it that imaginatively interweave real (live and we have the full history of it within our has been that way since animation came action) environments and/or characters grasp. And the earliest films were, oddly in to being. with those that are completely animated. enough, live action / animation hybrids. Generally, by necessity, these types of films are created in parts. The whole Winsor McCay is credited with creating one doesn’t come into being until all of those of the first ever animated films. Gertie The parts are integrated and this poses a Dinosaur (USA, 1914) animated a dinosaur number of very real challenges both performing a number of tricks. It works technically and in the planning stages OK as a stand-alone film but McCay of the film. And yet, harnessed well, this animated it so that it could be projected technique offers creative opportunities not onto a screen during his stage show in necessarily available to creators of purely which he would appear to command the animated films who might struggle to find dinosaur to do tricks and it interacted with budgets and resources to create vast and him. The whole show culminated in Gertie complex environments or have human-like appearing to devour McCay. 31 Interview with Pablo Munoz Gomez The Future Memories

Do you think of The Future Memories Did you use motion capture in your film? as an animated film and do you think of yourself as an animator? PMG No, I didn't use motion capture in my film but only because I didn't PMG A while ago I was having a chat have easy access to the appropriate with one of my friends and the chat equipment. If I had, I would definitely have became a discussion revolving around given it a try. It is amazing what you can similar questions. His position was that do these days with motion capture. if you were to take the meaning of the word literally then everything is animated. Every film starts off as nothing more He said if you film a rock on the grass than an idea and grows and matures while moving the camera and then do until the filmmaker is ready to commit of the real camera with the 3D camera the same thing using 3D software there to it. Do you think your process of and position it with the same angle as is no difference. In the end we had to imagining your films is any different the real one. I also had to reconstruct agree to disagree. However, after finishing with this technique than it would be the roof, floor and stairs of the station in The Future Memories I would have for, say, a puppet animator or a hand- 3D matching the real scenario so that thrown a few more arguments into that drawn animator? the light and shadows on the creature discussion. I think of The Future Memories PMG I think there isn't much difference were similar to the real lighting. Then I as an animated film, not just because it between a traditional animator, rendered out various image sequences incorporates CG elements but because the puppet animator or 3D animator in the for the animation with what is known film brings to life real elements that otherwise conceptualisation stages of a film. I would in the 3D world as ‘passes’. So, I have would have been rocks on the grass. say that the difference is in the planning one sequence with only the shadows of stage of pre-production once the idea the scene, one sequence with the light is mature enough to be ‘boxed’ into a information, one with the colour, one with particular style. The Future Memories, the reflections on the ground, etc. All of started as story to be told in a traditional these ‘passes’ gave me a lot of control way with linear narrative involving more when compositing the scene. characters, more effects and even dialogue. When I started writing it, the idea ...animation requires evolved into a fictitious documentary and the input of one I started to leave behind the idea of a fully animated short and began to consider or many artists to other techniques that lead me to think cohesively design There are lots of different views on about the film in a different way. After images in motion, the dividing line between animation hours of research and considering styles, “ which to me, signifes and special effects. It’s a murky area. I decided that it had to be a live-action the main difference animated short film where I was going to PMG I consider animation as an artistic be able to experiment with all the things I between animation practice where the output is always wanted. and special effects. impregnated with the artist’s intention or motivation. Obviously you can dissect this Your film is full of very different Where’s this particular technique going? into various parts, especially when you talk elements, some real, some not. Does about 3D animation because you have to this throw up particularly tricky issues PMG It’s hard to make a prediction like be a bit more technical. In other words, such as scale, lighting and so on? that. Technology is changing and evolving there is for example, an artist in charge of so rapidly that any forecast might sound PMG Absolutely, you have to plan the the character design, another artist that ridiculous in a few years’ time. However, shots very carefully. I have at least two deals with translating the concepts into I think it is going to be part of every big hours of raw footage and scenes I had to a 3D puppet and of course the animator movie that is produced. I honestly haven't leave out or that I couldn't use because artist who gives the puppet life and seen a movie recently that does not have of those tricky issues. The good thing is character. Whereas, with special effects, some sort of CG assistance, and it’s very that I was able to fix almost everything in the artist is relying on simulations and understandable. It’s much easier in terms post-production and compositing. That accurate values of physics but with not so of budget and co-ordination to blow up a is where all the animation and live-action much control over the movement as an car in the middle of the city with animation integration comes in to it. The scene artistic decision. All this is to say that and special effects than to make the real where the alien/creature is going up animation requires the input of one or many explosion happen. At the end of the day the escalator, for instance, was a tricky artists to cohesively design images in motion, what really matters is the final output, so one because I filmed it with a hand held which to me, signifies the main difference if it works, the technique is just another camera so I had to match the movement between animation and special effects. medium to create a film. 32 The Making of... The Future Memories

trouble of creating a miniature room to put a real actor in. Well, first of all I did it because I really wanted to! I love to make things with my hands and sometimes it is a relief from spending too much time on the computer. The second reason is that Pablo Munoz Gomez takes us I wanted to create a sense of discomfort through the making of his Live Action and scale that might look real in the film / Animation Hybrid flm. but was a little weird and somehow didn’t look proportional. I played with ferro-fluid The making of this film required a lot of and non-newtonean liquid (which is the planning and a lot of research. Because One of my favorite scenes to shoot fancy name for corn starch with water) it was my first time combining animation was the one featuring the tattoo. We to experiment with the different states of with live action I had to learn various got this fantastic location that looked all one of the characters in the film: the Black techniques like 3D tracking, 2D tracking, very dodgy and sci-fi at the same time. Blob. All of this was really fun. I had a great rotoscoping, masking, etc, and while I ordered a tattoo gun and some of the time making the props like the helmet I was in the process of learning them equipment on eBay and I got a piece of with the tubes, and the cocoons hanging my ideas of what I could do with them pork with skin at the market and that is from the ceiling. However, I wasn't really were constantly changing, opening new the close up that you see when the tattoo sure how I was going to make all of those possibilities all the time. artist is drawing the eyes and the mouth elements integrate with the animation so I on the character. So, I began with an idea that turned into had to start shooting to collect footage in a script, which I polished every day until I order to run some tests. I had a weekly meeting with Chiara, my was happy with it. Simultaneously, I made sound designer, to talk about the progress a mood board and a colour key. These ...if you really want of the soundtrack and when it was ready two documents helped me to keep a to do a flm or be a I took it with me and did the first editing sense of the mood and colours of the film director or animator, of the film. Eight different edits were at all times. I also made concept art for or whatever your necessary to finally find one that I was very some of the shots to get an idea of how happy with. The editing process was very any given scene should look and that “passion is, you just exiting too, because it’s like having the film helped me to think about the composition need to go out there almost ready and being just a few steps of the frame before I went to the locations and do it. With all the from either screwing everything up or total to shoot it. Then, of course, I had to make tools and technology success. So, once you start to put the my storyboard. Since the idea of my film we have at hand, scenes together you see for the first time was to leave behind all sense of narrative one shot following another. It begins to feel structure and experiment with imagery, the there is no excuse. like it’s really a movie! storyboard was just a series of sketches that I put together in the form of a comic. The shooting went really smoothly. It took Finally, I gave a final edit to the sound me only three days all up to get all the designer and she did her magic adding There were major challenges for me shots with the actors. With that material all these amazing sounds recorded in such as compositing with green screen, all shot, I was able to start playing with the studio just for this particular project. integrating CG elements into the live- the compositing software and I was very In the mean time, I was working in the action footage and making visual effects happy with what I was able to do with just ‘marketing area’ designing the DVD jacket, outside of the safety of computer a HD SDLR camera and After Effects. the poster, and printing the DVD covers. software. I had to create models, set When I got the final sound mix back I put it things on fire, melt stuff and play with Compositing was a real treat. It is probably with the HD film. It was a great sensation - some simple chemical reactions. I started one of the things in animation and CG that I was totally blown away by how much the to gather my team together - actors, I enjoy the most. Compositing is basically sound and music enhanced those images equipment and, of course, sound. In The about taking all the bits and pieces from that I had put so much effort into creating. Future Memories sound is one of the a scene, putting them together, moving most important aspects of the film. It is them around, grading them and so on until I did this film with a budget of Australian perhaps the element that dictates the they look part of the same shot. I spend $1,000, (approx £640) the SDLR HD pace of it and drives the tension. I worked at least one month doing this because camera and two computers, so it is not with Chiara Kikdrums from the beginning absolutely all of the shots needed to be such a big production. One of the things to create this fantastic atmosphere. I also somehow altered in After Effects. There I learned with this project is that if you created a production budget for cameras, are a few shots that have layer upon layer really want to do a film or be a director or lenses, materials, etc. of effects and different planes such as the animator, or whatever your passion is, you very last shot which is at least 95 percent just need to go out there and do it. With all Once I was comfortable that I’d finished generated on the computer and the scene the tools and technology we have at hand, with the admin stuff, I started with the at the station with the creature, which has there is no excuse. fun part by creating the room model. a lot of corrections and things added on Pablo Munoz Gomez Many people asked me why I went to the top of the original footage. 33 Technique Focus(15) Live Action/Animation Hybrid at the Barbican Thu 25 October 21:30

Metachaos Italy, 2010, 8’27 A hyper-speed recreation of amoebic chaos fuelled by inspiration drawn from Murky Papers the sickly madness and pain of Bosch and Robots of Brixton Bruegel. Finland, 2011, 8’02 UK, 2011, 5’36 Director Alessandro Bavari A woman is reading but her cutout paper is Brixton has degenerated into an area Producer Alessandro Bavari determined to have its own way. inhabited by London’s new robot www.alessandrobavari.com Director Heta Jokinen workforce - robots built and designed to Producer Turku Arts Academy carry out all of the tasks which humans no longer want to do. Director Kibwe Tavares Producer Kibwe Tavares

The Future Memories Australia, 2011, 10’50 Director Pablo Munoz Gomez DEMAG: Desire Is Producers Veeran Naran & Pablo Munoz Magnetism South Korea, 2010, 8’43 Gomez In Dreams Magnetism is the science of attraction, but A stark and confronting patchwork UK, 2011, 3’57 entrapment, death and vengeance often nightmare plays out in a space somewhere A group of people swap their heads to help wait in hiding at the end of that path. between a strained imagination and a illustrate their most recurrent or memorable crowded railway station. Directors Sung-Hyun Joo, Yong-Jin Kwon dreams. & Hee-Seung Song www.pablander.com Director Samuel Blain Producers Sung-Hyun Joo, Yong-Jin Producer Samuel Blain Kwon & Hee-Seung Song www.samuelblain.com www.kiafa.org

Cut /// Fixe Babel France, 2011, 6’56 France, 2010, 15’00 Noise Brutal or beautiful? A local neighbourhood A reality-questioning tour through the Poland, 2011, 6’40 (in Annecy of all places) is deconstructed, bricks-and-mortar destruction of a China As the noise levels rise so too does the cut, fixed and redrawn. no longer wanted and the ultimate shiny visual detritus that the noise generates and Director Audrey Coianiz new version that takes root and grows pushes into the physical realm. Producer L’arteppes Espace D’art upwards - no matter the cost. Director Przemyslaw Adamski Contemporain Director Henrick Dusollier Producer Studio Munka www.basmati.it Producer Henrick Dusollier www.studiomunka.pl www.studiohdk.com

34 Make a Spooky Film Workshop 10 - 14 year olds at the Barbican Wed 31 October 10:00 - 17:00

A morning animating spooky films and of specially selected spooky animated an afternoon adding scary soundtracks, films, as well as a bonus screening of the for children aged 10-14. BAFTA winning completed animated productions of the animator Kevin Griffiths will introduce the day. various stages of ‘cut-out’ animation and guide children step-by-step through the Kevin Griffths Biography process of making their very own animated Kevin Griffiths has many years experience film. Children will learn how to use a working with stop frame animation. He has camera, laptop and software to create directed three series of ‘Old Bear Stories’ their own Halloween-themed animations. (for which he won a BAFTA)’, as well as They will then get the chance to bring their ‘Bob the Builder’ and ‘El Nombre’. Kevin films to life by experimenting with sound is an accomplished animator, animation to create eerie atmospheres, ‘bumps in director, puppet maker and puppeteer. He the night’ and give a voice to their ghostly is also a highly skilled educator and has Full programme of films at characters. worked with adults and children in a wide The day will round off with a programme variety of settings over the past 10 years. www.liaf.org.uk

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THE ART & CULTURE MAGAZINE www.aestheticamagazine.com MANUFACTURING IDEAS Ronan and Erwan Bouroullec create Subscribe for £25.95 a year to save 20%. interplay between art and architecture SHIFTING GEOGRAPHYst century life Aesthetica An exploration of how artists across www.aestheticamagazine.com the globe refl ect 21 The Art & Culture Magazine Issue 49 – OctoberAesthetica / November URBAN EXPLORATION Klein and Moriyama’s retrospective captures visions of the modern world

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cover 49 + spine.indd 1 Arts and Crafts Spectacular 2 Germany, 2012, 7’50 Entangled histories transform a museum into a sitcom. Jeff Koons meets Cicciolina, Yoko Ono talks about meeting John Lennon. Directors Sebastien Wolf & Ian Ritterskamp

Late Night Lazarov (18) France, 2011, 5’00 Refusing to accept the decline of the U.S.S.R., a handful of Russian scientists work secretly to resurrect Soviet power through the mysterious program Lazarov. Bizarreat The Horse Hospital Fri 2 November 21:00 Director Nieto

Jeff Koons, Cicciolina, Yoko Ono and John Lennon hanging out together. Nasty experiments on chickens. Mis-sized boxing, conjoined twins on a search for glory and women. A colourful musical ballet about swapping moles. More pork than you can shake a stick at. Mulvar cry precious fuel from eyes! A smoking, drinking baby. Zombies and misbehaving parrots. It’s Late Night Bizarre folks, you know you want it!

tWINs Slovakia, 2011, 5’26 Siamese twins fight it out in the boxing ring but the competition really heats up when it’s time for bed. Director Peter Budinsky

36 Frosted Chocolate Mouse Koppiekrauw Italy, 2011, 2’43 Netherlands, 2011, 1’30 Conjoined twins, a flock of birds, a flotilla One very bad parrot. of fish and a spooky rabbit. Director Erik Butter Director Donato ‘Milkyeyes’ Sansone The Scream Romania, 2011, 3’23 “I was walking along a path with two friends – the sun was setting – suddenly the sky turned blood red…. and I sensed an infinite scream passing through nature.” Edvard Munch, 1893 Director Sebastian Cosor

Mulvar Is Correct Candidate Zombirama Canada, 2011, 1’08 Argentina, 2011, 7’00 Mulvar make precious fuel come from March 1976. Buenos Aires is invaded by a eyes! Vote Mulvar. group of zombies. The plague grows, Director Patrick Desilets enveloping the city with fear and desolation, and finds its climax in the Nineties. Directors Ariel López V & Nano Benayón What Does Otto See? UK, 2011, 6’35 Otto, a decrepit busking hobo, bashes out a jaunty tune on his toy piano to amuse passers by and hopefully earn him the odd coin. SPONCHOI Pispochoi Director Neil Baker Organopolis (Pecoraped - Ikue Sugidono) France, 2011, 2’30 Japan, 2010, 6’07 The physical and emotional journey Warts! Moles. Oh, let’s start exchanging. affecting a young pupil’s everyday life through the reactions of their body organs. Director Miyako Nishio Director Nieto

Bugu Turkey, 2011, 3’10 Bugu’s gentle walk in the countryside is interrupted by underground demons. Rosette Director Aynur Fomin Çatal Las Palmas France, 2011, 5’03 Sweden, 2011, 13’00 In a cured meats deli, a customer starts A tragicomic version of Easy Rider fantasising about the butcher and a featuring the Director’s baby in the universe of pork products. combined roles of Peter Fonda and Dennis Directors Romain Borrel, Gael Falzowski, Hopper. Benjamin Rabaste & Vincent Tonelli Director Johannes Nyholm

37 Bottle USA, 2011, 5’25 The power to connect knows no boundaries and can’t be stopped by Mother Nature’s power of erosion. Director Kirsten Lepore

(U)

Grand Prix Amazing Spain, 2011, 8’00 Every good tricycle race is started by a band of penguins. And who said girls Animations couldn’t join in – that’s not fair!! Children’s Programme 0-6 years Directors Anna Solanas & Marc Riba at the Barbican Sat 27 October 11:00 at the Rio Sat 3 November 13:30

Animation, like childhood, can be just full of wonder with the biggest pleasures being the simplest ones. These programmes, carefully chosen for our littlest and most special audience, strip away all the soft-sell toy ads and the over-the-top blockbuster- style special effects and just delivers up two screenings of wonderful films full of simple joys.

Fluffy McCloud Ireland, 2010, 3’00 An independent little cloud finally finds Children’s Animation a use for all the rain he’s been carrying around. Workshop Director Conor Finnegan at the Barbican Sat 27 October 10:00

Join us in the Barbican cinema foyer for a free drop-in animation workshop. A special chance for children to try out their hands at making a short animated sequence, with BAFTA-award winning animator Kevin Griffiths.

special thanks to

38 Acorn Boy Latvia, 2010, 9’54 Acorn Boy needs a bit of patching up so he can join his friends in the miniature village. Director Dace Riduze How Shammies Bathed The Little Bird and the Leaf Latvia, 2010, 7’00 Switzerland, 2012, 4’00 Mitten, Pillow, Hanky and Sockie are the It’s winter. At the end of a branch hangs a Shammies. They discover a monster who single leaf. A little bird attempts to water lives behind the bathroom door and get the leaf but it falls off. acquainted with splashy water. Director Lena von Dohren Director Edmunds Jansons

Alimation A to B Bramula France, 2011,2’48 Canada, 2011, 2’47 Canada, 2011, 3’07 A cool, cute little animated film made out of What’s the quickest way from A to B? This scaredy cat thinks it might be a smarties, chocolates and yummy cake. Let’s find out. vampire. Director Alexandre Dubosc Director Malcolm Sutherland Director Sarah Rotella

Tiger Latvia, 2010, 8’00 A circus caravan enters the city at night. The next morning children find a big box left on the street. What are the strange Dodu The Cardboard Boy Premiere sounds coming out of it? Portugal, 2010, 5’00 Russia, 2010, 5’36 Director Janis Cimermanis A cardboard boy and a bottle-top ladybug A very special little circus with some very living in a cardboard city escape and set sail special little stars. into a deep blue moonlit sea. Director Stepan Birukov Director Jose Miguel Ribeiro

39 A Different Perspective Ireland, 2012, 1’55 A visit from an alien life form results in a change of perspective in more ways than one. Director Chris O’Hara Children’s (U) Programme 7-12 years at the Barbican Sun 28 October 12:00 The Sparrow who kept his word Russia, 2010, 6’40 Animation, like childhood, can be just full of wonder with the biggest pleasures being An honest little sparrow braves the cold, the simplest ones. These programmes, carefully chosen for our littlest and most wind and rain in order to hold true to his special audience, strip away all the soft-sell toy ads and the over-the-top blockbuster- noble and kindhearted promise. style special effects and just delivers up two screenings of wonderful films full of simple joys. Director Dmitry Geller

Luminaris Argentina, 2011, 6’20 In a world controlled and timed by light, an ordinary man has a plan that could change the natural order of things. Director Juan Pablo Zaramella

40 Kali The Little Vampire Ursus Canada/France/Switzerland/Portugal, Latvia, 2011, 10’00 2012, 9’25 A bear works as an acrobat-motorcyclist in A poetic and beautiful tale and a reminder a travelling circus but yearns for the forest that there is a place for every one of us where his true happiness seems to dwell under the sun. Even the creatures of the at night. Zing night. Director Reinis Petersons Germany, 2011, 8’00 Director Regina Pessoa Day in, day out, Mr. Grimm is busy with his job as the Reaper, harvesting people’s lives. One day, his monotonous existence is interrupted by the doorbell. It’s a little girl. She wants her cat back. Directors Kyra Buschor & Cynthia Collins

Bottle USA, 2011, 5’25 The power to connect knows no Marvin boundaries and can’t be stopped by UK, 2011, 7’11 Mother Nature’s power of erosion. A young boy has an unusual orifice in the Director Kirsten Lepore middle of his head. Narrated by Steve Coogan. Director Mark Nute I Saw Mice burying a Cat China, 2011, 5’30 Romance, farce, thriller and tragedy. Director Dmitry Geller

At the Opera Night Sounds Argentina, 2010, 1’00 Sweden, 2011, 5’50 A very moving night at the opera. Everyone should be sleeping. But what’s Director Juan Pablo Zaramella that under the bed? Better take a look. Director Jacob Stalhammar

41 British (15) Showcase at the Barbican Thu 1 November 18:30 Does anything defne British British animation schools which makes for Animation? The wealth of styles in a very healthy figure. this recent crop of flms in the British Showcase would seem to deny any Dealing with student work can be binding characteristic other than an interesting process and there are diversity. The breadth and mixture a number of things programmers or of animation techniques alone make selectors have to be mindful of above this a rich and varied treat. They and beyond the norm. First up is the fact are adeptly put to use, each flm that courses vary wildly from one to the projecting it’s individual vision, it’s other. They vary in the equipment they own slice of life. provide, the level of mentorship they offer, the constraints they place on students or We received 191 British entries this year, a the freedoms they allow, the additional record. And it is hard to tell how so many burdens they place on the student’s works of them found the resources to reach and even the cultural environments they completion but the fact they did says a lot create in their classes. about the DIY nature of British people in general. Being forced to learn certain types of software and equipment is probably good When in other countries I get asked pretty job training and fulfils the main purpose much constantly to explain what makes of the exercise from the school’s point a British film. It’s an obvious question of view but perhaps the animator would without an especially obvious answer. never have used some of the techniques Luckily not every British animated short and visuals given the freedom to make the has to have an especially gritty streak film they really wanted to make. of humour or air of grimness about it. In lieu of any of these sorts of obvious Time constraints and sometimes restricted touchstones, I tend to fall back on the DIY access to equipment can be another thing. It’s not as glamorous a response as factor more or less unique to the student many of the interrogators were expecting filmmaker. Goodness knows how many of but it has more than a ring of truth to it in the pretty ordinary student films I’ve seen many circumstances. The credits are not would have soared to greater heights, or especially long on most British films. even just gotten off the ground, if only they had had ten percent more time. We will It is hard to know whether it is because never know. of or despite this lack of obvious British- ness in the look and narrative of so many And so there are lots of things to keep local films, that British short animated in mind when you’re trying to put this films continue to be one of our more programme together. It’s nice to think enduring and successful screen culture I might be identifying future stars (I am exports. And it’s during my travels on the pretty sure there’s a couple in here but I’m international festival circuit that I have the keeping that to myself for the meantime) pleasure of seeing a lot of them. and, in an artform that tends to have a very high drop-out rate, I am also trying Britain continues to do very well on to use the one tool at my disposal to the international animation film festival encourage animators that strike me as circuit, taking 7 of the 15 international having a future. That is to say, I hope, prizes, including the festival's 3 Grand perhaps forlornly, that a young animator, Prizes, at this years Ottawa International still maturing in talent, will be so struck by Animation Festival (the largest of its kind the experience of seeing their film on a big in North America) and 5 out of the 7 films screen and feeling the collective love from in Sundance's Animated Short category an audience of strangers that they will be came from the UK. encouraged to continue animating. LIAF does its little bit to try and spread This programme is an extremely the word on British animation. There are encouraging window onto what looks like plans to screen this programme at the a very bright future for British animation. Berlin Short Film Festival and Expotoons in The funny ones are genuinely funny, often Argentina and similar screenings are in an with a subdued, understated, surprisingly advanced stage of negotiation. We do our sophisticated level of humour that normally best to tour the programme around the gets left on the wallflower seats in favour UK as well. British Animation – coming to of the louder, more obvious candidates so a town near you! evident in much of this work. The films that are endeavouring to examine topics with a 7 out of the 16 films screened here are deeper social import do so with a maturity student films, and 2 others screening in and sensitivity that is equally rare. And in competition - My Face is in Space by Tom terms of technique, they are streets ahead Jobbins and The Making of Longbird by of many of the 2,000-plus films we got to Will Anderson - are from the National Film see this year. and TV School and Edinburgh College of Art. As well as this, there are another We hope you enjoy them as much as we 6 British films in ‘The Best of the Next’ do. sessions. That’s15 films in total from

43 Why Did the Chicken Cross The Day I Killed My Imaginary Turf The Road? UK, 2012, 2’19 Best Friend UK, 2012, 6’11 UK, 2012, 4’15 To understand this question we must Regla is a nine year-old girl whose only friend Metallic creatures divide their universe, first get to know the chicken, whose is imaginary. Regla hates bath time and marking sections which they claim for their unfortunate problems began in his always has to be ordered to do it. But she own. Some are content to work in peace childhood. usually gets rid of her bath water without her with their neighbours, whilst others seek to dominate. Director Daniel Binns mother knowing. Director Antonio J Busto Algarin Director Barnaby Dixon

Daniel Binns is a Antonio J. Busto is Barnaby Dixon was short flmmaker / a Fine Arts student born in 1990, in Animator currently based in Spain. Somerset. Dixon was based in Bristol. After Always interested frst introduced to graduating from the in developing new animation at the age University of the ways to narrate and of 13 when a media West of England show atypical ideas; centre opened in his with a degree in Animation, Mr Binns his work can be found in many different town. Since then, he has graduated has worked as a freelance designer, formats, including prints, illustration, with a frst degree Hons from the BA compositor and animator for various UK animation, and flm. Currently he animation course at UWN. He spent based companies. Mr Binns enjoys long is fnishing studying at Emily Carr his second year of higher education walks in the park and smoking. University (Vancouver) and completing studying under Prof. Jerzy Kucia, at the a Fine Arts Degree at UPV in Valencia. Academy of Fine Arts in Kraków (PL). What made you make the film? In 2012, he got a grant to study at It was for a brief from Wonky films. Middlesex University (London) for a year, What made you make the film? where with his team RABANO created The concept for Turf came after a Is there something you can tell us about the flm - short The Day I Killed my Best conversation with a friend about a Ukrainian the production process? Friend. girl we both know. We spoke of how strange It was a good opportunity to collaborate with it seemed to us that whenever she visits the brilliant illustrators 'Peskimo' and animate What made you make the film? friends in Poland, she has to declare why some chickens. The first things that I took as goals were she is going and exactly when she plans to to mix a classical way of animation with return. This got me thinking about boarders Where do you get your ideas from? experimental methods. I wished to talk about and the way countries exist alongside each A box under the bed. childhood sexual aspects. It is funny to know other. that the first idea to create it was my desire What are you working on now or to engage any audience to fall in love with an Is there something you can tell us about planning on working on next? androgynous transvestite, in this case, the the production process? I'm currently working as a director for a imaginary friend. The production process comprised of London-based studio and, when I get time, stop-motion animation, with some digital making a short film about a cow. Is there something you can tell us about compositing in post-production. The the production process? ‘boarder’ colours were also stop motion, My first challenge was to be in an amazing they were stuck to the floor and back wall of city alone, with limited English, with the idea the set magnetically and moved along with of creating a film with a huge production the puppets. The colours’ luminosity was schedule. I was working long-distance and due to them being treated with ‘blacklight’ remotely using Skype, e-mails and Dropbox paint, then lighting the set with a UV strip (to share online production), and organising light. everything to get it done in less than 5 months. Where do you get your ideas from? Where do you get your ideas from? Sometimes a concept comes to me first, I always try to use young boys (children) in and then I consider the best technique to a critical way, but this film is more about a realize it, this is how Turf developed. But young girl interacting with a male. perhaps more often what happens is I first What are you working on now or get an idea for a new technique, then I think planning on working on next? about what kind of story I can tell using it. I am already involved in two new projects What are you working on now or - both as part of my last year as a planning on working on next? undergraduate student. I have pretended to Currently I have a huge backlog of ideas, open a production and creative studio with most stemming from ideas for new all my co-workers to generate commercial techniques. My current focus is building the work or for other kind of audiovisual and hardware required to realise them. artistic assignments. 44 Last Breath Dead Bird Anomalies UK, 2012, 7’55 UK, 2012, 1’00 UK, 2012, 10’00 Yeuk Seng is coming to terms with being Peter gets some advise from a wise old A minimalist world is invaded by a series a social outcast. Refusing to give in, he is man – even if he didn’t ask for it. of uninvited, unexplained presences. A film now struggling to live in a city that he does about the compulsion to meddle, probe Director Trevor Hardy not belong to anymore. and fiddle with things that are better left Director Ying-Ping Mak alone. Director Ben Cady

Born and raised in Trevor Hardy has Ben Cady is a Hong Kong, Ping been animating for traditional animator came to England the past 13 years. who likes to work with at 17. She studied He runs and owns paper and a pencil. animation at the Royal a small stop frame His BA flm The Goat College of Art and studio; ‘Foolhardy and The Well was graduated in 2012. Films’ producing awarded a number everything from brightly coloured of prizes in flm festivals nationally and What made you make the film? plasticine farm animals to dancing internationally. Anomalies is his newest This is my graduation film at the RCA, so it baked beans. flm, which was made during his fnal was a good opportunity to make a film as year of the animation course at Royal personal as possible. What made you make the film? College of Art, from which he graduated The idea originally came from myself and in 2012. He lives in rural Hampshire and Is there something you can tell us about Jazz (my nine year old boy) being silly with plans to continue making animated the production process? each other. I was putting on my old man’s short flms for many years to come. The entire production is done in digital, in voice and Jazz was reacting to what I was terms of style I was trying to strike a balance saying, Dead Bird was a lucky accident out What made you make the film? between anime and a more graphic style. of that messing about. I wanted to make a film about the vastness of the world, and the tininess of humanity. Where do you get your ideas from? Is there something you can tell us The film is trying to echo my experience about the production process? Is there something you can tell us about living in my home city, Hong Kong. If 90s I tend to start with the voice, I try and get a the production process? was the golden days of this overdeveloped, pic in my minds eye of what the character Everything you see is hand-made or hand- overpopulated city. 00s is the going downhill would look like, if he were to have that drawn, nothing is generated digitally. days where people have nothing to live voice. Situation, age, social standing, these Where do you get your ideas from? for, yet on the outside, still packaged as all start to mould what I think the character I tend to store interesting or funny things a booming, glamorous metropolitan city. I will look like. I see away somewhere in my head, and want to tell a story of a nobody living in big eventually a film idea comes along where I time unable to change anything and paint an Where do you get your ideas from? can use them. elegy to a dying city. I had just recently been watching old Oliver Postgate, Peter Firmin animations. I What are you working on now or What are you working on now or really liked the simplicity of the characters, planning on working on next? planning on working on next? Bagpuss, Ivor the Engine, Clangers etc... A short film I started a couple of years ago I am looking for a job. they were really simple yet engaging. I think but never finished, about two trophy hunters. that is why the characters in Dead Bird look the way they do.

What are you working on now or planning on working on next? What are you working on now or planning on working on next? I have just finished a couple of short films, both made entirely by myself so I will be sending them out around the festivals. I have an advert that I am doing for Blu-Tak in New Zealand, and a thing in the pipeline with Lush Cosmetics. On top of that, trying to hold down a weekend job, to bring in money coz animation don’t… and juggling family, friends and the occasional life style disaster!

45 99 John Bradley Manning has What Makes Your Day? UK, 2011, 2’57 Secrets UK, 2011, 2’20 99 John sells pills all night and every UK, 2011, 5’25 People can find joy in the smallest things. night to the punters for the clubs from The story of Bradley Manning, not as Director Napatsawan Chirayukool a dilapidated ice-cream van. But while a Wikileaks ‘hacktivist’, but as a young seeing all and hearing all, being mute, American soldier simultaneously going he can tell no-one of what he witnesses. through a crisis of conscience and a crisis Narrated by Steve Coogan. of gender identity. Director Matthias Hoegg Director Adam Butcher

Matthias is a BAFTA Award winning writer/ Born in Thailand nominated Animation director exploring in 1987, and raised Director and a variety of unique up in a textile Freelance Animator visual and storytelling printing company. based in London. styles, his flms have She graduated in His approach to played at festivals 2010 from Kingston animation is led across the globe, and University London. by distinctive design and succinct his short flm Internet Story recently She won 1st Prize in the Adobe storytelling. Collaborations are key attracted over half a million viewers Achievement Awards 2010 in Animation to his work and have allowed him online. category. What Makes Your Day? to work across a broad range of has been exhibited in San Francisco creative felds, from Children's TV to What made you make the film? International Festival of Short Films, animated documentaries, branding Reading a revealing article about Bradley Hackney Film Festival, FILE 2011 and commercials. Since 2006 he has Manning's chat logs - that made his story (Brazil), ‘Random Acts’ (Channel 4), worked on projects for clients such as suddenly human and fascinating. and ‘Teen PBS’ (Thailand 2012). She CBeebies, Warp Films, HP, HTC, Coca is working as a freelance animator/ Cola and Virgin Media. Is there something you can tell us about illustrator between UK and Thailand. the production process? What made you make the film? It's all rotoscoped - live action, drawn over What made you make the film? Richard Sainsbury approached me with the frame-by-frame. It was made as part of the Final Major Project idea “pop narratives” that are all set in the for BA(Hons) Illustration/Animation course world of “The Beautiful City”. The animation Where do you get your ideas from? (2010) in Kingston University, London. is intended as a visual backdrop, a setting In general? Vivid dreams, obscure Wikipedia that supports the narration without being to articles, cultivated paranoia. Is there something you can tell us about too specific about the story's ambiguous the production process? What are you working on now or characters. I want my work to have a ‘real’ feeling with planning on working on next? a variety of interviews from different people Is there anything you can tell us about I have a new short called Sons of Atom - in different places; from a cornershop lady the production process? trying to get it into the best festivals. I'm also to a primary school teacher, from a student The treatment of the film goes back to a writing a feature or two. to a teacher, from a random person on the short experimental piece I made back in streets to an old lady walking a dog - each of 2005 by pasting together details of various them with their own definition of happiness. I East London building to create an imaginary was impressed by the results, as none of the city at night. Elements of this film have answers are the same! found a new home in Richard's writing, complemented by some imagery from the Where do you get your ideas from? narration that we chose to illustrate. I didn’t want to work on a project that made me depressed for months so I chose the Where do you get your ideas from? concept of ‘Happiness’. I was fascinated by The biggest challenge is to weed out rubbish the phrase What Makes Your Day and the ones and the best way to do this is having endless possibility of the concept. casual chats with people who can give you honest answers. What are you working on now or planning on working on next? What are you working on or planning to I have a desire to work on an animated work on next? documentary on culture shock. As a Thai For the last couple of months I've been student who has stayed overseas, I have collaborating with Animator friends in London encountered differences in cultures and on some nice pieces for some well-known environments, many of which I found charities - seems like these organisations interesting and amusing. I would like to are investing more and more into short explore the perspective of the traveller in a animations to sum up bigger issues at the foreign land. moment. 46 Immersed The History of An Orange Hidden Place UK, 2012, 3’50 UK, 2012, 3’00 UK, 2012, 2’40 A mysterious portrait of the beauty in A road movie from the good old days - with Deep in the dark recesses of a museum in decay of natural wild life. the roof down, the breakdown, the pride a long forgotten storage room, a group of artifacts come to life. Director Soledad Aguila and the joy and the misery. Director Emma Lazenby Director Stephen Irwin

Soledad, Águila is Emma is an Animator, Stephen Irwin is a an illustrator and Designer, Director graduate of Central animator from Chile and Doula. Starting St. Martins College of currently living in work in 1998 at West Art & Design. His flm London. Following Highland Animation Moxie was awarded her BA in Fine art, she making Gaelic myths the Grand Prize at the worked as a professor and legends in the Ottawa International in different universities in her country as Trossachs, she moved to London in Animation Festival 2011, and The Black well as on interdisciplinary art projects, 2001 to freelance on promos, adverts Dog’s Progress won Best Short Film which inspired her to move into the and series. In 2008 moving to Bristol at the British Animation Awards 2010. animation feld to continue her studies to Direct for Aardman and ArthurCox He has received commissions from at the Royal College of Art. Soledad as well as for herself. Emma won the the UK Film Council & Film London, graduated this year from the MA in BAFTA for short animation in 2010 for BBC New Talent/Warp Films and Animation course. her flm Mother of Many. Animate Projects/Arts Council England, and Channel 4. His flms have been What made you make the film? What made you make the film? screened in competition at festivals all I wanted to bring to life a collection of images The love of my 36 year old car, which had over the world, including Sundance, drawn from my memories, as well as, turned into a pet and a friend. I started Annecy, Zagreb, Edinburgh, Ann Arbor observing, watching, photographing, getting searching for her history and found 9 of her and Clermont-Ferrand. He was named curious, drawing, writing and wondering 12 owners. as one of Animation Magazines Rising about the relationship between beauty and Stars of Animation 2009. decay. This process developed my work to Is there something you can tell us about What made you make the film? evoke a mysterious and melancholic journey the production process? It was commissioned by Lupus Films for across a landscape. I decided to go back in time and use multiplane, cutout. It was lovely to use card Channel 4's Random Acts series. I had a Is there something you can tell us about and a scalpel and get away from computers completely open brief and came up with this the production process? for a few months. duck character that goes mental in an old The animation went through a transformation storage room. during the process of animating. I didn't Where do you get your ideas from? Is there something you can tell us about follow a traditional approach as I started to I find ideas all over. But mostly I am very the production process? work from a written structure, poems, and a inspired by the things I love. I find it a lot I built the set using dolls house miniatures, compilation of visual notes and illustrations harder to make something if I am not most of which were bought in a strange little which allowed me to improvise and evolve passionate about it. shop in Gospel Oak, North London. It's run while working on the project. What are you working on now or by an eccentric old lady who seemed very Where do you get your ideas from? planning on working on next? suspicious of me, but it's well worth a visit if I got inspired by the landscapes of southern I am doing some workshops in Bath you like tiny things. Chile, specially the flora and fauna from and trying to find funding for something Where do you get your ideas from? Patagonia. Places that I had visited in my secret. I am very interested in Medical and I steal them all. childhood and others that I had imagined. Educational animation so am pushing to find work doing that. What are you working on now or What are you working on now or planning on working on next? planning on working on next? A new short film partly funded by Rooftop I am interested in the connection between Films, due out next year. And some new nature and destruction and how those prints, available in my shop soon! elements can talk about contemporary topics to portray moments, atmospheres and microcosm, where storytelling is free from the constraints of traditional narrative.

47 Ylem Cherrywood Cannon Demon Kills UK, 2012, 3’30 UK, 2012, 6’43 UK, 2012, 4’56 Inside the World-machine a glitch triggers a A dark, twisted fable where a desperate A boy confesses why he commits suicide terminal malfunction. king creates a monument of power for his at school. He decides to confront his Director Jo Lawrence Jubilee. Narrated by Richard E. Grant and demons, embarking on a nightmarish with original art by Ralph Steadman. journey. Director Charlie Paul Director Ying-Ping Mak

Glow, Jo Lawrence’s Charlie Paul has Born and raised in frst commission been directing Hong Kong, Ping for Channel 4 was commercials and came to England screened in 2007 music videos for at 17. She studied after a residency at 20 years, winning animation at the Royal the National Media over 30 advertising College of Art and Museum. Her next awards. He has graduated in 2012. residency at the V&A resulted in Glover. worked with many artists, flming their Both Glow and Glover were nominated art as it is created. Some of these What made you make the film? for the fnals of the BAA. In 2009 flms became ‘Inside Art’ the BAFTA This is my first year film at the RCA. Pavementopera was commissioned for nominated Channel 4 series. This flow of Tate Britain (Tate Late). Recent flms commercials work has enabled Charlie Is there something you can tell us about are Barnet Fair for the National Media to realise his long-term interest, making the production process? Museum and Ylem, commissioned his debut feature For No Good Reason The production process wasn't a glorious for Ch4’s Random Acts by Animate about his artistic hero Ralph Steadman. one to talk about. I didn't plan enough and Projects/Lupus and which won the changed my style once, and the whole Screengrab Media Arts Award 2012. What made you make this film? process took much longer than I expected. Cherrywood Cannon is a rare and fantastic Good thing is I make sure I did not the same What made you make the film? book by the artist Ralph Steadman, I mistake with my graduation film. Ylem was one of 5 animations chose to animate this story because of commissioned by Animate Projects for the message in the book, and the art that Where do you get your ideas from? Channel 4’s Random Acts, all responding surrounds it. It was originally a section in For I decide to make the film after reading the to the theme of Apocalypse. I wanted to No Good Reason, my feature documentary news about a boy committing suicide at his convey a feeling of nostalgia for what we about Ralph, but Terry Gilliam suggested school after suffering from mental disorder. have now from a future perspective. I use it as a stand-alone short, and he is a Although the film was inspired by the event, man worth listening to. it is purely fictional and based on my own Is there something you can tell us about Is there something you can tell us about imagination. The film hopes to bring out how the production process? the production process. people were being treated when they act I was able to introduce the Muybridge This film took a year to produce with a small differently than others, especially in Hong images and the zoetrope strip of dancers team of animators using Flash as an initial Kong, where being unusual usually become as I had discovered these gems in the animation tool. Characters where created outcast of the society. archives of the National Media Museum while in outline and then tracked and filled using researching images for my previous film, the textures from Ralph’s original art. All the What are you working on now or Barnet Fair. Integrating vintage sequences individual elements were combined with the planning on working on next? like the Muybridge tiger strengthened the art backgrounds from the book using Flame I am still looking for a job. feeling of imminent loss of so much that is to create enormous landscapes, atmospheric important - such as the tiger, which could be particles and lighting effects. The book was extinct in 15 years. read by Richard E. Grant and the music Where do you get your ideas from? composed by Brothers From The Others. Science and theatre are always an inspiring Where do you get your ideas from. source of ideas, and I involuntarily pick up Working with Ralph Steadman is one of the odd or unexpected information that could most inspirational things you can do, he potentially lead to a film idea. is a powerhouse of ideas and techniques, using surfaces and materials in ways that What are you working on now or continually surprise and excite the eye. planning on working on next? What are you working on now. I am developing two ideas for pitches In the making of For No Good Reason and waiting to see which one 'wins' and we animated loads of scenes that didn’t becomes the most exciting idea. make the final cut, so I am in the process of collecting this together for a DVD, doing directors commentaries and collating galleries of original art from Ralph’s studio. 48 The Animation Bursary The Bill Bailey Animation UK, 2012, 7’09 Taken from a phone conversation with Bill Bailey featuring a magical journey to The Film & Video Workshop is the moon with hummus, an exploration of launching The Animation Bursary, a ectoplasmic cosmic whimsy, a celebrity new scheme for three new animators, train ride and a mosh pit with Jon Snow. beginning in January 2013. Directors Dan Lamoon & Mair Perkins The scheme is aimed at animators who have just started in their career and need help moving forward with their next animated short. It will assist them through all stages of the film-making process - from initial concept right through to Mair Perkins is a 25 mentioned as inspiration a few times during distribution and a screening at LIAF 2013. year old professional our meetings. animator and What are you working on now or A four month residency in a designated illustrator based in planning on working on next? animation area within the Workshop’s Derby. She completed Since the Bill Bailey animation I set up my teaching studio, as well as a £500 budget a BA (Hons) and company Mair Perkins Ltd. Animation and (to be awarded at various stages of each Masters degree in Illustration which specialises in making animation at the University of Derby and animator’s production), free equipment short explainer animations. It's much more her animated work has won a handful of hire and access to all the Workshop’s awards. Her favourite things include but commercial than the Bill Bailey project but animation and post-production software is are not limited to cats, coffee, anime, there's still a lot of creative fun and I enjoy available. comics, retro video games and most helping businesses communicate their forms of escapism. messages through animation. I still work with Not only that, but the animators will a people from the Bill Bailey project and have receive expertise and guidance from some What made you make the film? formed a new animated logo / ident business of the UK’s most prolific and talented Dan and I had talked about collaborating with a couple of them. So the collaboration animators: Joseph Pierce; Max Hattler; with FD2D for a while. When he called me continues! Layla Atkinson; Robert Bradbrook; Robert and said, “something something ‘Bill Bailey’ Dan works for Morgan; Tom Hicks; Osbert Parker; and something something ‘animation’”, I was ‘From Dusk 2 instantly on board. Emma Calder; and Martin Pickles have all Dawn’ magazine, a kindly agreed to support the scheme, with Is there something you can tell us about creative platform that the production process? showcases the talent studios 12foot6 and Espresso Pictures It was fun and stressful! We spent 3 weeks of the East Midlands coming on board too. planning then 2 weeks animating. We started and beyond, through a The Film & Video Workshop is an by having a few meetings and sketching out social network that profles the regions storyboard and animatic ideas. We also set diverse creative communities to the world. educational charity and the largest up a Facebook group and shared Dropbox producer of young people’s animation in What made you make the film? folder to communicate and organise the the UK. It provides workshops for a range Bill Bailey is a legend and after the production as our team was divided between of clients including: The Tate Modern; opportunity to conduct a phone interview for Leicester and Derby. Once we'd settled BBC; National Portrait Gallery and many From Dusk 2 Dawn and fd2d.com we had on a rough storyboard (or a list of things more. It is dedicated to supporting to get creative and a little weird to show our to happen as we didn't have time for full filmmakers, providing training and facilities respect. Bill went into a dandelion mind of boards), we divided the workload between for animators and filmmakers. tangents where we felt the urge and need to the illustrators and After Effects animators. visualise his bizarre stories and twisted reality. So each scene is like a little sketch. Everyone To find out more go to Is there something you can tell us about had a lot of creative freedom and fun which www.flmworkshop.com the production process? I think shows in mixture of styles. The sound The project was driven on collaborative fun, effects and music were one of the final produced under the FD2D banner although touches and brought the whole film together. it was the work of 8 creative lunatics with the Towards the end it was pretty manic as we time to climb inside the mind of Bill Bailey special thanks to were rushing to get this out for the FD2D and create a surreal animation to illustrate a magazine release and a local filmmakers interview of tangents and beyond. night but all the stress and sleep deprivation Where do you get your ideas from? was worth it. Bill Bailey and collaborative creativity fuelled Where do you get your ideas from? on hummus and lunacy. I think our ideas came from our groups What are you working on now or shared sense of humor and love of Bill planning on working on next? Bailey surrealism. Just listening to Bill talk Commercial productions to pay the bills. Got gave us all different visual interpretations some more collaborative creations in the that we talked over and somehow merged. pipeline to explore the inner mind of creativity Terry Gilliam and Tex Avery's names were without bowing down to the constraints of life.

49 Animated Documentaries(15) at the Barbican Sun 28 October 14:00 My Face is in Space UK, 2012, 9’00 1977 – NASA sent a Golden Record When you think about it, animation is a great tool for creating documentaries. Perhaps into space. It encapsulated some of the the camera couldn’t be present during the action; perhaps the action is invisible to a live greatest achievements of humankind, as action camera or maybe the documentary ‘story’ just needs some extra special style well as a few friendly faces. Larry’s face is to make it compelling or easier to understand. Persuasive, illustrative and able to get one of them. over abstract details in attractive and compelling ways, animation is the perfect tool to Director Tom Jobbins document someone’s vision of the truth.

Darren Walsh is well known for incrementally while I change his mask devising, directing and voicing the expression every frame. It’s wrong but Bob on Heaven acclaimed comedy series Angry fast. We’re talking 40 seconds a day - Hell UK, 2012, 1’11 Kid. It features the misadventures of Yeah! Bob used to drink down Villiers St in an animated teenager and uses his London’s Charing Cross in the late 60s and Where do you get your ideas from? trademark technique of mixing human 70s with actors, characters and villains. DW In this case Bob came up with all the pixilation with masks. What will they make of the new gaff that ideas. They’re real stories with a bit of Bob opens up there? He is also known for his award winning sparkle. commercial direction. Since joining Director Darren Walsh Passion Pictures he has directed What are you working on now or campaigns for Comparethemarket. planning on working on next? com, Sony Bravia, ‘Play-Doh’, Peperami, DW I’ve got several on going long Specsavers, BBC iPlayer, Duracell and form projects in development but we National Express Trains. Darren has 5 films definitely want to make a longer animated screening in the Animated Documentaries documentary about Bob and his colourful session. life. It will be an amazing time piece that will show us a flavour of London that will What made you make the Bob films? soon be no more. DW Dave Anderson. Tell us a bit about your working Where did you find Bob? relationship with 12 foot 6. End The Death Penalty DW Dave was interviewing locals at the DW Mr Morris (our company) and 12 Foot UK, 2012, 5’40 Clock on Leather Lane for a series called 6 have been making the Bob films for a Get Well Soon. When he was asked couple of years now. It’s the perfect fusion One Iranian lawyer’s fight to save juveniles about his experiences in A and E he talked for something like this because we both from execution – the extraordinary story of Mohammad Mostafaei who has saved 20 for two hours, mapping out his (slightly have the perfect approach to animation and of the 40 juveniles he has defended from dodgy) life in London via network of pubs, comedy. I’m a massive fan of Dog Judo. execution in Iran. prisons, theatres, charity shops and pubs again. Every word was golden so we It’s a great example of a production Director Jonathan Hodgson started a series of Bob films. company just getting on with something great and funny with what ever means Has he seen the films and if so what they have - funded or not. Bob is not does he think of your portrayal of him? funded…we just get on with it safe in the DW He couldn’t quite figure it out. He said knowledge that it will find it’s natural home “I don’t remember seeing any cameras as it grows. when you interviewed me.” He seems to enjoy them and really wants to do more. Is there something you can tell us Bob on... credits about the production process? Director Darren Walsh DW The process is something that I Voices Bob & Lucy Izzard used in my college film 20 years ago. It’s Filmed at ScaryCat Studio basically a very patient actor that moves Production companies Mr Morris Productions & 12Foot6 50 Ishihara Bob on Pain Paper Box Israel, 2012, 6’00 UK, 2012, 0’40 Poland, 2011, 10’00 A poignant tale of colour blindness using Does Bob have a strong pain threshold? A paper box taken out of the director’s Ishihara colour test patterns. Yes he does. Why? Thanks to the house that was destroyed by flood Director Yoav Brill occasional drink and his little friend, contains all the family photographs. Charlie. Tainted by water and mud, they become Director Darren Walsh less and less decipherable with each day. Director Zbigniew Czapla

Bob on Sport UK, 2012, 0’49 Bob waxes lyrically about sport. Bob on Charity Director Darren Walsh UK, 2012, 1’30 Bob is doing a spot of community service in a charity shop. He’s not allowed to use the till but he can answer the phone. The Centrifuge Brain Project Director Darren Walsh Germany, 2011, 6’40 Since the 1970s, scientists have conducted experiments on bizarre amusement rides and the feeling of freedom they give to their users. Director Till Nowak Shadow Stories UK, 2012, 4’00 A story of human endeavour and society over the 10,000 years between the end of the last ice age and the arrivals of the Romans in Britain. Director Samantha Moore

Bob on Death Father UK, 2012, 1’25 Croatia/Bulgaria/Germany, 2012, 16’00 Bob is a miracle of modern science. He When did you last talk with your father? has drunk professionally in pubs, bars and Will you ever ask him about those things clubs all over London since the 60s and is that hurt you? none the worse for wear. Should he donate Directors Moritz Mayerhofer, Asparuh In Dreams his body to science? Petrov, Rositsa Raleva, Veljko Popovic & UK, 2011, 3’57 Director Darren Walsh Dim Yagodin A group of people swap their heads to help illustrate their most recurrent or memorable dreams. Director Samuel Blain

51 Music Videos (15) Session at the Horse Hospital Fri 2 November 19:30

Animation is an integral element in many of the best music videos. Producing them also provides a credible, often commercially viable way for animators to earn a living from their skills and still produce work they can be proud of. Here are 19 of the world’s best and most innovative music videos produced in the last 12 months in a special programme providing a visual mash-up of styles, techniques and genres.

Wagon Christ - Chunkothy The Beards - Got Me A Beard Director Celine Directors Chris Edser, Bill Northcott & Jarrod Prince

Sunset Rubdown - Nightingale/December Song Director Theodore Ushev

Björk - Crystalline Directors Peter Sluszka & Michel Gondry

Scratch Bandits Crew - Heart Beat Director Nicolas Dufoure/Icecream

Lorn - Ghosst(s) Director CRCR

52 We Cut Corners - The Male Mind Director Remy M Larochelle

Gotye - Giving Me A Chance Directors Gina Thorstensen & Nacho Rodriguez

Bonobo - Eyesdown Director Anthony Schepperd

Lorn - Weigh Me Down Director Max Friedrich

Cornershop feat. Izzy Lindqwister - Who’s Gonna Lite Up Directors Rocket Science - Vidya Sharma Kottarashky & the Rain & Rajesh Thomas Dogs - Demoni Director Theodore Ushev

Dirty Alice - Power Crown Director Chris Bristow

Tom Waits - Hell Broke Luce My Dry Wet Mess - Etc Director Matt Mahurin Director Martin Allais

Moones - Better Energy Director Peter Sluszka

We Cut Corners - Pirates Life Boy - Joey Director Kijek/Adamski Director Fluorescent Hill

53

www.cinanima.pt Al Dente Tango 2011, 4’08 Welcome. Do you have a booking? Yes? Good. Here is your table. Welcome to the Restaurant Of The Macabre. Director Maho Yoshida

Fleeting Dream (Tamayura No Yume) 2011, 4’01 A poignant departure from the charcoal splendour of the real world to a more colourful, but less predictable, world beneath the surface. Director Mayuko Yamakita Spots Spots 2011, 4’15 Spots may be (15) in the eye of the beholder but that beholder needs a pretty vivid imagination Best of the Next to see them all. at the Horse Hospital Sat 3 October 18:00 Director Yuanyuan Hu

A ‘festival within a festival’. Three diverse back-to-back programmes looking at the next generation of indie animators from a variety of angles.

From The Dolphin (Iruka Kara) 2011, 2’09 A dolphin’s-eye view of a hypnotic journey to a surprisingly unexpected end vision. Director Tatsuhiro Ariyoshi

Bonnie 2011, 2’27 Life can be a frenetic journey for a fragile little cut-out trying to make its way through the crazy rigours of the urban jungle. Director Masanori Okamoto

59 (15) Tokyo University special thanks to of the Arts 1 Programme at the Horse Hospital Sat 3 October 18:00

The arrival of LIAF 2012’s special guest – legendary Japanese animator Koji Yamamura (‘Mt Head’, ‘Franz Kafka’s A Country Doctor’, ‘Muybridge’s Strings’ to name but a few) dramatically and quickly re-energised the Tokyo University of the Arts animation course into a creative powerhouse of the Japanese animation scene and the world is beginning to sit up and take notice of its graduates. This collection looks at some of their more recent graduate works and shows what a unique torrent of animation has been untapped there.

Specimens Of Obsessions The Life Of The Weed (Kusa Island Of Man (Hito No (Hyouhon No Tou) 2011, 12’08 No Isshou) 2011, 2’53 Shima) 6’32, 2011 The centipede of punishment, an A pastiche of ‘floranetic’ hyperactivity that A quiet carpet of Zen imagery and ephemera of obsessions, the leech of traces the path of one big weed on the narrative. On an island that could be closure, a snail of escape, and of course move. anywhere, a pair of boots lay cast away. the cockroach of usual life. Director Sonomi Takada Director Alimo Director Atsushi Makino

Rootless Heart (Samayou Ygg’s Bird (Ygg No Tori) 2011, 5’27 Jam Fish 2011, 3’34 Shinzou) 9’52, 2011 From fire, smoke and scorched earth, a A bold and colourful visual essay on what Uncertainty equals danger. And danger bird arrives to find that life has changed fish can teach us about dealing with the requires a response. But an uncertain forever. peak-hour traffic. response has uncertain consequences. Director Mariko Saito Director Senri Iida Director Toshiko Hata

The Tender March (Yasashii Fully Cooked For You Uncapturable Ideas (Idea Ga March) 2011, 4’48 (Onishime Otabe) 2011, 3’44 Tsukamaranai) 10’52, 2011 A visual roller-coaster ride right out of a Behind every peeled owl is … another Somebody has gone fishing for ideas and Japanese, pop culture-infused graphic peeled owl. Underneath every puffed they’ve thrown the net real wide. Step novel – but with lots more screens. mushroom is a stem waiting to escape. forward and help haul in this rich bounty. Director Wataru Uekusa Director Yuka Imabayashi Director Masaki Okudam

60 (15)

The best international student films drawn from more than 60 different schools in 25 countries. Best of the Next 2 Programme at the Horse Hospital Sat 3 October 19:30

Fly Mill Estonia, Life and Stuff Stay Home 2012, 7’20 UK, 2011, 4’30 USA, 2011, 5’37 Man’s disregard A kaleidoscopic, A worm, a bird, for the balance of whistle-stop tour a cat, a dog - a nature can relegate through one man’s pecking order. him to the bottom of the food chain. life in four and a half minutes. Director Caleb Wood Director Anu-Laura Tuttelberg Director Kumar Satkunarasa Producer Rhode Island School of Design Producer Estonian Academy Of Arts Producer Bournemouth University, NCCA

Flamingo Egaro France, Ishihara Israel, Pride Germany, 2011, 6’09 2011, 5’45 2011, 6’02 Apparently meek A poignant tale of Pride and prejudice and mild by day, colour blindness down on the the vibe turns using Ishihara rainbow bird ponds. grotesque when his conversion to the colour test patterns. ‘masked one’ takes place. Director Tomer Eshed Director Yoav Brill Producer HFF “Konrad Wolf” Director Bruno Salamone Producer Bezalel Academy of Arts and Producer Supinfocom Design, Jerusalem The Case Little 38-39 Czech Republic, Monkey Degrees USA/ 2011, 4’46 France, 2011, 3’30 South Korea, 2011, A rainy, hard-boiled A young monkey, 7’43 night on the gritty initiated by his A man enters an streets depicted in the softest velvet tones. master, has to pass his transition to old bathhouse where he relives a memory Director Martin Zivocky adulthood. of his father, and their past relationship Producer Tomas Bata University, FMK Director Delphine Dussoubs ignites. Producer Ecole des Métiers du Cinéma Director Kangmin Kim d’Animation Producer CalArts

Bottle USA, Peacemaker Omerta 6’14, 2011, 5’25 Mac - The 2011, France The power to Island Of A dapper, gangster connect knows Dispute Israel, frog tries his luck at no boundaries 2011, 4’39 locking horns with and can’t be stopped by Mother Nature’s mafia rhinos – it was only ever going to A damned classy, old-time-style cartoon power of erosion. turn out one way. channelling Kricfalusi and Mesmer in Director Kirsten Lepore roughly equal proportions. Directors Nicolas Loudot, Fabrice Fiteni, Producer California Institute of the Arts Arnaud Janvier & Gaspard Roche Director Yotam Cohen Producer Supinfocom Producer Bezalel Academy of Arts and Design, Jerusalem House The Box (Die I’m Fine Wanders, Kiste) Germany, Thanks UK, Bird Water 2011, 4’50 2011, 4’30 Full Germany, A tale of the A candy-coloured 2012, 8’55 reptilian mystic. psychotic A tender and sensitive portrait of self- Three frogs must decide whether to open meditation on urban survival. the box that sits before them. discovery. Director Eamonn O’Neill Director Veronika Samartseva Director Kyra Buschor Producer Royal College of Art, London Producer HFF “Konrad Wolf” Producer Filmakademie Baaden- Wurttemberg

61 (15) Best of the Next 3 Programme at the Horse Hospital Sat 3 October 21:15

Swarming Within Within Passenger (Kuhina) UK, 2011, 3’00 USA, 2011, 3’51 Finland, 2011, 7’18 An astonishingly An entrancing A new universe mature review re-animated view of life leaps forth of the young of a ride home in from the insides of a dead bird – much to filmmaker’s sense of her birthplace -Hong the dark. the delight and wonder of the child who Kong - its place in the world and its Director Africanus Okokon discovers it. complex relationship with China. Producer Rhode Island School of Design Director Joni Mannisto Director Sharon Liu Producer Turku Arts Academy Producer Royal College of Art, London Change (Valtozas) A Life Well- From Dad to Hungary, 2011, Seasoned UK, Son Germany, 6’37 2011, 3’35 2011, 5’20 An ironic Maybe the simplest From his prison monologue about finding one’s path, inner memories are the cell, junior writes growth, and the desire to change. real spice of life. a letter to his dad, informing him that Director Virag Kiss Director Daniel Rieley, the weapon and victim lie buried on his Producer Moholy-Nagy University of Art Producer The Arts University College at property. and Design Bournemouth Director Nils Knoblich Producer Kunsthochschule Kassel Right In Flood The Middle (Fiumana) Hinterland (Zmitzt Drin) Italy, 2012, 5’20 Germany, 2011, 8’40 Switzerland, 2011, A girl at a window A crow steals a 5’06 watches the bear’s new I-Pod. I’m searching and searching when it’s passing of time, the waltz of seasons, The bear gets mad. actually me that’s being followed. And I’ve waiting for her man. Directors Jakob Weyde & Jost Althoff already been found ages ago. Director Julia Gromskaya Producer HFF “Konrad Wolf” Director Cecile Brun Producer HSLU Design & Art, Lucerne This is Not L’Air De Rien Real UK, 2011, France, 2011, 3’16 Once Upon 6’40 The faces we A Time A young boy’s create, the clothes (Conte De chimerical journey we wear, the Faits) France, from a small English town leads him to an spaces we inhabit - are they barriers, 2011, 3’59 disguises or conduits to surviving day to all-defining conclusion. A young girl remembers the sights, sounds day. Director Gergely Wootsch and her escape paths from the American Producer Royal College of Art, London Director Cecile Milazzo servicemen’s bar her mother ran during the Producer La Poudriere Korean War. Director Jumi Yoon En Parties When I Was Producer La Poudriere France, 2011, 3’49 Young UK/ Modern deco Japan, 2011, 5’34 The blended with The story of a girl Backwater postmodern who wants to be a cubism – coming to a screen near you. Gospel whale. Denmark, 2011, Director Hugo Bravo Director Kaori Onishi 9’31 Producer Ecole Emile Cohl Producer UCA, Farnham Death stalks the prairie and has no favourites - neither true believers nor crazed hillbillies can hide. Director Bo Mathorne Producer The Animation Workshop

62 Features

63 ‘For No Good Reason’ UK, 2012, 89’00, Director Charlie Paul

at the Barbican Thu 25 October 18:30 (15)

Johnny Depp pays a call on his friend Burroughs and his fiercely heartfelt politics. Director Biography and hero Ralph Steadman and we take off on a high-spirited, lyrical, Through Depp’s lead in this intimate Charlie Paul has been successfully raging and soulful journey discovering portrait, we are able to reach to the heart directing commercials and music the life and works of one of the most of what make this artist tick, his friendships videos in London for twenty years. important radical British artists of and fallings out, his love for art and He began in animation with the modern times. passion for civil liberties. acclaimed short flm Faroe Islands featuring Anthony Hopkins for The film is shot on various formats, Steadman rose to prominence in the the voiceover. He has developed from 35mm to HD, as the technologies early 70’s when his impassioned and vast knowledge and experience of developed around the filmmakers. A stirring images gained recognition through working with motion control. During camera was stationed above Steadman's popular cultural publications and press his celebrated career Charlie’s work work table for most of the colossal both in the UK and US for their bold has been internationally recognized shooting period, capturing everything he comment on world politics and human with over thirty Advertising awards created, from blank canvas to finished rights infringements. including: D&AD, Clio, BTAA and Rank work. "It's a very odd idea," says the self- Cinema. For No Good Reason is a richly creative, effacing artist. "As I go through things, I visual feast of a film about the power and suddenly realise I've done too much!" Alongside his commercials career, importance of art to achieve Steadman’s Charlie has for many years, worked This is an inventive, energetic, occasionally aim “I learnt to draw…to try to change with a number of artist’s flming their harrowing but inspiring and uplifting film the world”. Director Charlie Paul spent 15 art as it is created, from blank canvas with contributions from Terry Gilliam, years meticulously amassing the footage to fnished painting. Some of these Richard E Grant and music from Slash, and creating the remarkable animations flms became a series for Channel 4 All American Rejects, Jason Mraz, James for the film to match the same anarchic titled ‘Inside Art’ which was BAFTA Blake, Ed Harcourt and Crystal Castles, all energy, anger and free spirit of Steadman’s nominated. pictures. It is riot of stories and images that ‘For No Good Reason’. literally blast out of the screen as we take It is this constant flow of commercials a trip through the wild and dark days of work that has enabled Charlie to have Steadman’s time and consignments with the resources to realise his long- Fear & Loathing in Las Vegas writer Hunter term interest and make this feature S Thompson, the Rumble in the Jungle, flm about his artistic hero Ralph gun fights with literary giant William S Steadman.

64 Fifteen years ago I took a trip to Old Loose Court in Kent to meet one of the greatest artistic influences in my life. That trip started me on a journey that has profoundly affected the way I see the world and the way in which I work. I found “the perfect collaborator and companion to create the film I wanted to make. This film is the culmination of my roots as a punk, art student, photographer and filmmaker in a multi-layered narrative, spun almost entirely from a single palette; the life and art of Ralph Steadman. The process of making this film has been a privilege; to have intimate access to Ralph’s library of art, friends and collaborators, to work with talented musicians, the weeks of difficult motion- control shoots, film utilisng many different The Artist formats of which some are now obsolete, edit, colour-grade, soundscape creation Ralph Steadman and composite with the UK’s industry best, has allowed me to become the artist Ralph Steadman began his career I hoped to be. Thank you Ralph. as a cartoonist satirising the British Charlie Paul social and political scene of the 60s. In the 1970s, responding to what he called ‘the screaming lifestyle of America’ he teamed up with Hunter S. Thompson which resulted in his iconic drawings for Fear and Loathing in Las Vegas and collaborations ranging from The Kentucky Derby to The Curse of Lono. Many of his drawings were to be seen in Rolling Stone magazine and he produced his book of collected impressions of America in 1974. His work has appeared in many newspapers and magazines, from Punch an Private Eye in the early years to the New Statesman, The New Yorker and the Independent. Early in his career he turned his creative energy to the literary classics, with Alice in Wonderland, Alice Through The Looking Glass, Treasure Island, Fahrenheit 451 and Animal Farm. He then looked into the lives of Sigmund Freud and Leonardo da Vinci, reinterpreting their genius in both words and drawings. I learnt to draw… He wrote Doodaaa in 2002, partly to try to change the satire and partly autobiography, and world. The Joke’s Over, the account of his relationship with Hunter S. Thompson, Ralph Steadman in 2006. Much of the 1990s was spent “ travelling the vineyards and distilleries of the world for Oddbins, the wine merchant. These journeys resulted in three books, the Grapes of Ralph, Untrodden Grapes and Still Life With Bottle. He has illustrated children’s books, books of poetry with his friend Adrian Mitchell, made sculptures and limited edition prints. He has designed theatre costumes and sets, produced graphics for television and flm and designed stamps. 65 Inspired by classic flm noir and rendered in mesmerising black-and-white rotoscope, this dark-hearted Czech flm traces the haunted memories and mysterious visions of a troubled train dispatcher through the shifting cultural and political landscape at the close of the Cold War.

‘Alois Nebel’ Czech Republic/Germany/Slovakia, 84’00 Director Tomás Lunák

(15)

Aloisat the Barbican Sun 28 October 20:15 Nebel

It’s the summer of 1989, shortly cruelty of human nature. But the past of and serious-minded reflection on recent before the Berlin Wall comes down, this ordinary-looking dispatcher, with his history that is technically stunning in its use and Alois Nebel is working as a moustache, black-rimmed glasses and of seductive black and white rotoscope train dispatcher at a small railway railway cap, comes back to haunt him animation. station in the mountainous region of whenever the bad weather and loneliness Sudetenland on the Czechoslovakian of his faraway Czech Sudetenland station The glory of the film lies not in its story but border. Nebel, a loner who suffers get to him. rather in its atmosphere and imagery, in from troubling hallucinations, is a man being chased at night through the psychically stalked by ghosts from the Rain, snow and, of course, fog are almost forest by men and dogs, in rains that pelt dark past of this region, where harsh omnipresent, and the latter is often used the valley, the swelling river that overflows revenge was exacted on the German as a swipe between past and present, its banks, a tree that crashes on the rail population after World War II. allowing Nebel to get lost in the mists tracks and the events that finally do shake of time. Rendered with a supple, semi- up Alois Nebel’s life. Unable to shake these nightmares, he translucent smokiness, the fog stands in eventually ends up in a sanatorium. When direct contrast to the thick black outlines he recovers and is allowed to leave, Nebel of the figures, objects and buildings, Director Biography finds things have changed dramatically visually underlining the idea that the outside. The Berlin Wall is gone, the present is not as clear-cut and concrete as Communist regime in Czechoslovakia has it might at first appear. Born 30/8/74 in Zlin, Czech Republic. fallen, and he is without a job or a place Tomas Lunak studied animation to stay. Initially seeking help at the Prague Czech actors played the characters in direction at the Zlin flm school and railway headquarters, Nebel ultimately costume and on set, and the footage was Prague Film Academy FAMU. Since returns to the mountains to fight through then traced over by animators, much as graduating he has directed a number the ghostly miasma that has haunted him in Richard Linklater's rotoscope feature of music videos and promotional for so long. A Scanner Darkly. This allows Lunak to flms. Alois Nebel is his feature flm combine a graphic-novel look with an debut. Nebel's surname means ‘fog’ in German underlying humanity that comes from (and ironically ‘life’ when read backwards), more than just voice work. Filmography and in 1989, the year communism 1995 - The Whisper (Sepot) came crashing down, he's a withdrawn Petr Kruzik's magnificent score further 1998 - The Expedition (Expedice) man who prefers the regularity of train turns up the sense of unease and 2000 - Acrobat (Akrobat) timetables to the capriciousness and foreboding. Alois Nebel is a sophisticated 2006 - Thursday, Friday (Ctvrtek, Patek)

66 The German word ‘Nebel’ means fog. If read backwards we’d fnd a totally different German word - leben ‘life’. And it is a life hidden in a fog of feelings and memories that is exactly what makes up our trilogy of “ graphic novels Alois Nebel. The title is also the name of our main protagonist, a train dispatcher in his fifties, but still in many ways an adolescent, who works at Bily Potok, a small depot lost in the mountains. Alois Nebel came to be in the year 2003, when the first book of the graphic novel Bily Potok came out. Two more followed. Central Station (2004) and Zlate Hory (2005). In 2006 the three titles were collected together in one volume named after the protagonist. It is from this collection that the story that forms the basis of the screenplay emerged. The story is set in the Jesenik Mountains in what is today the Czech-Polish border, an area formely known as Sudentenland. The illustrator and co- screenwriter of the film, Jaromir 99, comes from this region. The region - and also the world of trains - is both near and dear to the other screenwriter, and author of the original graphic novels, Jaroslav Rudis. His grandfather, Alois, actually served as a switchman at a station similar to the one in the story both before and after the Second World War. In many ways he was the model in which the protagonist is based. Tomas Lunak 67 In this dark sci-f tale, 21st century Tokyo is a city at the edge of apocalypse. Little Midori is dreaming of a colourful vegetable world, but instead, as a teenager, she travels to a post-apocalyptic, surrealist, and grotesque future that looks like a Jan Svankmajer nightmare where there is a serious food shortage. ‘Midori-ko’ Japan, 2010, 55’00 Director Keita Kurosaka

(15)

Midori-koat the Barbican Sat 27 October 21:00

Neither hunger nor her bizarre mutant hunger and the senses, in fact the five neighbours weaken Midori’s vegan scientists who discover rather than create spirit. In the meantime, fve scientists this miracle food/ child are represented work in a lab and manage to develop by Kurosaka as having eyes, noses, ears, ‘dream food’, which is both meat and mouths, and hands instead of heads. vegetable. The problem is that Midori- They are the personification of an entirely ko - a sort of pumpkin with face and sensual and illogical world. limbs - has no intention of being eaten. When Midori and Midori-ko’s Kurosaka employs a sketchy charcoal paths cross, they will have to fght to style out of which his characters emerge stay safe from neighbours, scientists, out of the dusty chiaroscuro. The and even their own instincts. creatures - apple-headed schoolgirls, naked women with fish heads, lecherous For a world brimming with fear over old men with Biblical beards - that environmental destruction, global warming surround Midori pulsate with energy and and over population Midori-ko plays out seem to congeal and dissolve out of like a paranoid fairy tale, a storybook Kurosaka’s loose, hand drawn imagery. inversion of Richard Fleischer's sci-fi classic Soylent Green, but in this case the Keita Kurosaka needed more than food source isn't made out of people, but a decade’s work and almost 30,000 is in itself a sentient anthropomorphised drawings, completely hand-drawn in being. In many ways this brilliant new food coloured pencils, to produce Midori-ko, a source is more human than those around dazzling, atmospheric “paranoid fairy tale”, her/ him. Kurosaka populates the world as it has been called. Midori-ko is its own around Midori-ko and its young charge unique kind of animated classic, one that Midori, with wildly imaginative and often takes today’s present day environmental concerns and puts them into realms of special thanks to Carte Blanche & frightening animal/ human/ vegetable The Japan Foundation hybrids. Its as if ethical eating advocates imagination that most of us would never were having a nightmare of a post-GMO, have dreamed possible. artificial additive-steeped, irradiated apocalypse in which people really are what they eat. This is a world driven by 68 ‘Midori-ko’ Japan, 2010, 55’00, Director Keita Kurosaka Worm Story 1989, 15’00 A parody of Aesop’s fable The Hare and the Tortoise where speed and steadiness are embodied by a rabbit and an earthworm. Director Keita Kurosaka

Director Biography Born in 1956, Keita Kurosaka is active as an animator and as Professor in the Department of Imaging Arts and Sciences at Tokyo’s Musashino Art University. Across his career, Kurosaka has explored various methods of animation including drawing, photography, and sculpture and has also produced video clips, installation pieces, and comics. Kurosaka’s flms Agitated Screams of have screened widely at international Maggots 2006, 4’00 festivals including Rotterdam, Berlin, A music video which defies categorisation Annecy, and Hiroshima. He was - made for the Japanese gore band Dir En also responsible for the 23rd stanza Grey. of the 2003 animated flm Winter Director Keita Kurosaka Days, collaboratively created from the individual contributions of 35 world-class animators. Kurosaka also created the 2006 promotion video Agitated Screams of Maggots for the internationally acclaimed Japanese rock band Dir en grey. Kurosaka’s major works include: 1989 - Worm Story 1990 - Personal City 1994 - ATAMA 1997 - Flying Daddy Midori-ko screens with two of Keita Kurosaka’s acclaimed short flms - Worm Story (1989) and Agitated Screams of Maggots (2006). 69 Special Programmes

70 There are several different strands of reality that come in from different directions and intertwine to conspire against LIAF doing a better job of presenting Japanese animation than it does...

‘In a Pig’s Eye’ (Atsushi Wada). Winner of LIAF 2011 Best of the Festival.

A Window on New Japanese Animation

To start with, Japanese distributions it dawned on me that just about every you imagine and the story, as if a flighty systems have a number of unique good Japanese animated film that I’d creature, runs off whenever you get too elements to them and can be seen recently had a ‘Tokyo University Of close. Mirai Mizue, on the other hand, unpredictable rivers to navigate down. The Arts’ tag on it. It started as a trickle painstakingly constructs films that can be Perhaps it has a cultural component and over the course of two or three years best described as unbridled riots of colour. because the independent Japanese became just about ubiquitous. Made me Completely abstract, his works look for animating community aren’t big self wonder. The answer, of course, is in the all the world like an immensely magnified promoters. credits. Producer, Koji Yamamura. Script window looking down onto a scene of Supervision, Koji Yamamura. Thanks to psychedelic germ warfare. They are a On top of all this, the relatively high Koji Yamamura. triumphant blaze of colour, choreography incidence of Japanese websites that don’t and multiplication. Essentially handmade, have English translations, the relatively low When he joined the faculty of the Tokyo they must require a vast amount of work number of Japanese films that screen in University of the Arts, his impact was for somebody who mostly works alone. other festivals we get to attend, and the virtually immediate. And his first students It’s almost inconceivable (to me at least) dominance of anime films in Japanese are nowadays graduating bringing forth that somebody could plot this level of screen culture all contribute to forming well-crafted, original films that often have visual manoeuvering and then bring it to a certain level of haze on the horizon an altered perspective at their narrative the screen. It’s hard to know where such a whenever we look towards Japan. centre. Through this course, Yamamura specific technique will lead Mizue but it’s a doubles his legacy to the Japanese pretty wild ride while it’s lasting. It’s a harder problem to fix than it sounds. animation scene. And his experiences as Ottawa Animation Festival director, Chris one of Japan’s auteur animators with a Atsushi Wada has a beautiful drawing style Robinson, has written an outstanding large international profile might help bring and deftly utilises a wonderfully subdued book, Japanese Animation: Time Out Of more of these films, and their makers, to a and understated colour palette. Narratively Mind, on the subject but even that tome larger international audience. though, his films are raucous, unruly little takes an often indirect, abstract-ish route dances that merrily trample our ability to into the colourful heart of the territory. Another thing I started noticing was the do the mental gymnastics to keep up. We’ve had some fantastic assistance from emergence of The CALF Collective. At This, presumably, is absurdism with a the likes of Michael Fukushima, a producer first, it was sneaky flyers that would turn Japanese twist - incisive, clever, thought- at the National Film Board of Canada. And up in little corners of festival clubs, then provoking and a kind of cranial-floss a near-future plan to create an informal screenings started coming together and for those brave enough and interested partnership with Sam Chen at the San then faces started getting put to names. enough to hold both ends of the string Diego Asian Film Festival is part of a suite and pull it back and forth. of ideas to address it. But so is this. The ‘collective’ part of the title applies solely to the promotion and distribution Robinson sums it up beautifully in his book: It pays to read the credits. I’ve never of their films. The filmmakers themselves understood people who get up and leave have tangentially different styles and For a world that a cinema the moment the credits start approaches to filmmaking. Kei Oyama’s rolling. Credits as often as not contain a lot films come at you like dreams, hovering seems so absurd, I of really useful information that will answer under-lit in the near-mid-distance, just in wonder why it looks many of the questions you’ll have about physical focus and just out of metaphorical like the world around the film (and if people don’t have any reach. The imagery is shaded and me. questions about a film they’ve just spent a textured by a thin vapour shield, the “ couple of hours watching, maybe they’re story reaches out a hand to you as you watching the wrong films). At some point, approach it (or it approaches you) but sitting in some dark theatre somewhere, the vapour is harder to penetrate than

71 special thanks to New Japanese Animation The CALF Collective (15) at the Horse Hospital Wed 31 October 19:30

The CALF Collective is a small group of young Japanese indie animators that decided to pool resources and take their work to the world under a single banner. It’s worked extremely well with CALF screenings of one kind or another in a vast array of festivals around the world in the last 18 months. And now it’s our turn to check out this group of Japanese indie animation trendsetters. Also see these programmes: International Programme 4: Recent Japanese Shorts (pp 18-19); Feature: ‘Midori-Ko’ + two shorts (pp 67-68); Koji Yamamura Retrospective (pp 72-73); Tokyo University of the Arts (p 59)

A clerk in Beluga The charge 2011, 6’10 Undertaker 2004, 6’15 A magnificently and the Dog A clerk tests the macabre, 2010, 5’00 quality of elephants deliciously dark One day, an before small birds carry them off around vision of the inner demons that race around undertaker encounters a lowly pack of the world. the mind of a little match-seller condemned dogs. Without explanation he hands them to the cold and dark. Director Atsushi Wada his most valuable creation. Director Shin Hashimoto Director Shin Hashimoto Well, that’s Hand Soap Green Fairy glasses 2008, 15’50 2010, 2’10 2007, 5’40 Some moments Exquisite drawing What happens take a lot more with light – created when work, sleep, cleaning up after for absinthe. chemistry, and the human, animal, and than others. Just as some moments are Director Tochka dream worlds collide. harder to explain than others. Director Atsushi Wada Director Kei Oyama Consultation Steps ReBuild Room 2010, 2’00 2012, 5’30 2005, 8’45 An ingeniously A reflection on the A lonely moment simple idea Tohoku earthquake in a consultation brilliantly executed. and the tsunami of room – the indications are not good. But The most fun you can have in a room with March 2011 – drawn with sunlight. a few flashlights and some fake steps! the news isn’t made any better by turning it Director Tochka all into a macabre stage play. Director Tochka Director Kei Oyama Playground Modern No.2 In A Pigs Eye 2011, 3’50 2011, 4’14 2010, 10’10 A graceful An elegant, art- A delicate, surreal collection of deco piece of connection is made intricately created rolling geometrical between a house abstract creatures comes out to play. imagery from the master of the form. sheltering all of mankind and a giant pig. Director Mirai Mizue Director Mirai Mizue Director Atsushi Wada The Thaw 2004, 6’50 The slow journey towards thawing is part natural phenomena, part frightening inner battle. Director Kei Oyama

72 Interview with Koji Yamamura by Takashi Michikawa (from the ‘Cat’s Forehead’ online journal www.cats-forehead.com)

Four years after his last offering to make rough sketches of many different That's the really amazing thing about NFB. comes animator Koji Yamamura's ideas that I had. I started to draw animals I was sort of thinking that if it ended up latest release, entitled Muybridge's in places where they don't usually exist - leading to something that would be cool, Strings. Bringing together two sheep and horses inside rooms, and that and when they simply accepted the idea separate stories - that of the life of struck me as kind of interesting. That's without even any discussion, it almost photographer Eadweard Muybridge, how it all started. seemed too easy (laughs). But I was so one of the main contributors in the delighted. evolution of motion pictures, and Also, I reread the history of cinema by that of a mother watching over her Gilles Deleuze and I came across a 1 I believe that daughter as she grows up - this description of how Eadweard Muybridge used a thread in order to take a series of animation is the dream-like flm is woven together art of time. Time from a diverse range of images pictures of horses galloping, and I was relating to the subject of time. With really inspired by the idea of using a thread is born through Muybridge's Strings Yamamura has as a motif. I'd say they were the two most the projection of set himself the challenge of using the important points of departure for the film, “ frames which have the animals and the thread. animated medium to give expression no temporality to an abstract motive like time, and Then something else which lay even whatsoever. the result is a flm which reaches further at the core of the film was my own to the very core of the cinematic daughter growing up. My wife and I often The film has two storylines - that of medium, inviting its viewers on a wonder where our baby girl has gone. It's Muybridge's life story, and that of the journey to a far-off destination to the same daughter, but she's turned into woman bringing up her child. How consider the nature of time itself. a completely different person. When I was did you come up with the idea of Muybridge’s Strings is Yamamura's first thinking about that, the idea of time as a combining these two? work made in collaboration with Canada's theme came to the surface, and I started KY For ages I couldn't decide whether National Film Board (NFB). The NFB has to feel that I'd like to portray time itself. or not to include Muybridge himself as a character in the film, but then, when I was produced a myriad of top-quality animated This is your first project with NFB. in London for a film festival, I visited the films from the likes of the master of How did the collaboration come Muybridge Collection in Kingston upon experimental animation, Norman McLaren, about? Thames, Muybridge's birthplace, and not to mention Caroline Leaf, Jacques KY I sent my idea sketches to producer the interest I felt towards Muybridge's Drouin and many more, and is held as the Michael Fukushima in 2006, and he life intensified. I thought that the film animation mecca even by those within replied immediately, saying that he wanted would probably turn out better if it wasn't the field. In the case of Yamamura, for to make the film. He'd seen some of my just fantasy, if there was some degree whom working with the NFB has been a work before, and been planning to get in of factuality in there too. And then the dream since he saw the works as a school touch with me at some point. NCB is a Muybridge part developed, and eventually student, the NFB could be said to be the studio that I've longed to work with ever the film ended up being about half about origin of his creations. since I was at high school, and I came to him, and half about the mother. In fact, it would seem that with the be a bit better known as an animator with conjunction of the NFB element and the Mt. Head (laughs), so I thought, well, I For this work, I really felt that I wanted to idea of time itself in this latest creation, might as well try and approach them. show two totally different kinds of time. Muybridge was a living person, so he has Yamamura was returning to his own The thing was, at that time I still had no the kind of direct time which belongs to roots as a filmmaker. We spoke to the storyboard, but just five or six rough people who live a fixed number of years. I man himself, and asked him about his sketches. They didn't even have captions. intentions for the film. wanted to have the woman and her child represent a cyclical, abstract, universal How and when did the idea for kind of time, so I didn't make them into Muybridge’s Strings come about? 1 Eadweard Muybridge (1830-1904). British particular, distinguishable characters. KY When I finished making Mt. Head photographer. In 1878, succeeded in capturing on (2002) and began to think about my next camera a series of pictures of a galloping horse, and Did you encounter a lot of difficulties made a large contribution to the development of the in portraying an abstract thing like project, I did what I always do, which is motion picture. 73 ‘Muybridge’s Strings’ time? of using just one image per frame. moved, I had this rush of emotion, and I KY I started drawing the storyboards in Somehow, with the sense of these things thought uh-oh... (laughs). Loads of people 2003, so it took me quite a long time. I that I've built up over the years, I felt that had come, including the director of the would break off to write scenarios, then go technique would work better for this film. NFB, and everyone was really positive back to the story board, making drawings about the film. At that time I felt a real for the actual films... you know, doing lots This was your first time working with tangible sense of joy at finally having of different kinds of work for around four NFB. What do they represent for you? accomplished it. or five years. The biggest issue I faced KY When I was 16, my art teacher in was the matter of ordering. Stories usually school showed us NFB films on 16 ml Finally, is there anything that you'd progress in a linear fashion. But when film. They were Neighbours (1952) by like to say to your fans, to the people you take time as your theme, you can Norman McLaren and Mindscape (1976) who watch this latest film? also introduce non-linear time, so you can by Jacques Drouin, and they made a huge KY I don’t want to explain the film to play with changing chronological orders, impression on me, because I'd never seen people, because that's boring. It's much and adjusting lengths. You can't use the animation like that before. At university, I better if people watch it and experience it passage of time as a form of background joined the Animation Society, and because in their own way. If people watch the film scenery, and it's that which makes things there were lots of older students who with an open mind, then I think there'll difficult. really liked the works of Norman McLaren be one aspect or another about it which and experimental cinema, so we used will strike them. There are lots of different Do you have ideas about time of your to rent lots of NFB films from Hibiya features like that in this film. If those own? Library or the Canadian Embassy, and strike people in different ways and make KY Yes, very much so. I think I arrived at watch them.Then at the first Hiroshima them feel different things, if that sense of the idea of taking time as a theme through International Animation festival in 1985, diversity is felt by the audience, then I'd be my experience of working in the field of I saw a retrospective of the work of Ishu very content. animation. When you make animated Patel, who was there as a member of the films, you have to think about the true judging panel, and that was the biggest nature of time. Animation is a medium catalyst in my wanting to become an Koji Yamamura Biography which deals with time itself. animator. I always get inspired by NFB at the crucial times. That's why I was so Born in 1964, Koji Yamamura started When people talk about animation it's delighted to be able to work with them this creating animated flms while in always the artwork, the visual side itself time around. college He conceived a unique visual which gets spoken of, but what supports world by combining several media, that is the difference in the temporal gap You had Normand Roger doing the including modeling clay, three- left between frames. A sense of time is music and sound design for this dimensional fgures, photography, and born from the gap between the frames, film, who's been involved with many line drawings. He founded Yamamura and from there you can build up rhythm amazing projects that have become Animation in 1993, and serves on and tempo. You need to always be staples in the history of animation like the board of directors of both the thinking and experimenting with how to Frédéric Back films. What was he like Japan Animation Association and the capture and manipulate time. to work with? Japan Chapter of the International KY I really felt that he was an artisan, a Animated Film Association. Over I believe that animation is the art of time. true artist. He was always giving all kinds the past decade, his work has been Time is born through the projection of specialist help and advice, making critically acclaimed around the world. of frames which have no temporality suggestions and having ideas which His 2002 animated short Mount Head whatsoever. This is one point where it took into consideration the directorial was nominated for an Oscar and won differs fundamentally from films which direction. But he was never at all pushy. top prizes at major animation festivals capture real events, real time. The element He's the sort of person who views the around the world including Annecy of creating a temporal form from an a director's decision as sacred. I feel very in 2003 and Zagreb and Hiroshima in temporal one is one of the things that satisfied that I got to work on a project 2004. His flms have been awarded makes animation so fascinating for me, alongside Normand, who's helped shaped more than 60 international prizes and and makes it so satisfying. animation history. retrospective screenings have been There are 6400 images used in You were working for seven years held all over the world. Muybridge’s Strings. This is less than on this film. How did it feel to finally half the number than you used for finish it? Mt. Head or Franz Kafka’s A Country KY In December 2010, after the editing Doctor. Why is that? was finished, we had a private screening KY I didn't' want to start complicating Special thanks to Shochiku Films in the NFB for about 60 members of staff, and The Japan Foundation the screen by using different layers as I producers and other animators. That was did for Mt. Head (2002) or Franz Kafka’s the time when I felt it the most intensely. I A Country Doctor (2007) - I wanted didn't think that I'd get emotional myself, something simpler, and so I decided but when Michael gave a speech and to use the original animation technique I could tell from his voice that he was 74 (15) Koji Yamamura Retrospective at the Barbican Thu 1 November 21:15

Animation filmmaker Koji Yamamura is arguably the greatest short-form, auteur animator in Japan today. He is certainly the most internationally successful. Yamamuras’s animated worlds are in constant flux, characterised by dazzling visual images that shift and change in the blink of an eye. He has more or less singlehandedly created and refined a unique thread of quintessentially Japanese animation. Other than Kihachiro Kawamoto and Osamu Tezuka, probably nobody has achieved more within the realm of Japanese auteur short film animation than Yamamura. Breathtaking in their beauty, the free-spirited and surreal animation work of Koji Yamamura has garnered much acclaim throughout the world. In Yamamura’s films, trees grow out of heads, birds dream of fruit, children are swallowed by whales and alligators need haircuts. His delightful animations invite us into a distinctive world that contains echoes of Paul Klee and Monty Python, but is entirely original and accessible.

Mount Head (Atama-yama) The Old Crocodile (Toshi wo A Child’s Metaphysics Japan, 2002, 10’00 Totta Wani) Japan, 2005, 12’53 (Kodomo No Keijijougaku) After a stingy man eats some cherry An extremely old crocodile suffering from Japan, 2007, 5’08 seeds, a cherry tree grows on his head rheumatism is unable to properly hunt. In A touching and amusing look at the and he gets into a lot of trouble. A modern desperation, he resorts to cannibalism. His limitless imagination of children – an interpretation of the traditional Japanese family decides to get rid of him and this episodic series of surreal vignettes Rakugo (comics) story “Atama-yama” set disrespect drives him away to a journey involving children with oversized heads as in contemporary Tokyo. outside the Nile. they try to unlock the secrets to their own existence.

Fig Japan, 2006, 4’20 Franz Kafka ‘A Country Muybridge’s Strings Japan, A wonderfully freewheeling impression of Doctor’ Japan, 2007, 21’00 2011, 12’39 life in Tokyo. A crude groom mysteriously appears with Can time be made to stand still? Can it horses when a country doctor is called be reversed? Muybridge’s Strings is a on emergency. The stranger ushers the meditation on this theme, contrasting the old man into the night, staying behind worlds of the photographer Eadweard with the maid. Extending limbs, the Muybridge and a mother who, watching microscopic sounds of horses in the snow her daughter grow up, realises she is and the doctor’s disembodied narration all slipping away from her. insinuate a tenuous grip on reality.

75 We dispensed our globe-trotting collegue Malcolm Turner (who also runs our sister festival, the Melbourne International Animation Festival - MIAF) to lock down a tribute programme from this iconic American studio and here’s his frst-

hand account of the experience. ‘Duckman’

Big Day Out at Klasky Csupo (15) Fear, Poverty & Hero Worship in The City of Angels at the Barbican Tue 30 October 20:45

Arlene Klasky and Gabor Csupo up (perhaps not entirely unjustified on this un-Hollywood as it gets, or at least she beats created the iconic Klasky Csupo Studio particular day) of the paranoid chaos that my experiences of dealing with Hollywood from scratch in a spare room in their has become the lingua franca of the aviation types. Warm, friendly and somewhat apartment. It grew to becomte one world ever since. But one could have fired intrigued (I think) about what MIAF is and of the true greats of the animation the proverbial can,non down the Frankfurt does, she was extremely welcoming when I scene giving us the original Simpson’s terminal (although getting it in might have asked if I could come and visit. shorts, the frst three seasons of The been challenging) and the welcome at LAX Simpson’s TV series, the blockbuster was stunningly and uncharacteristically swift Figuring that a poor, simple, country boy Rugrats series and movies, the utterly and warm. like your correspondent would last about 20 unique cult classic Duckman, a galaxy seconds in LA without a guide, she sent her of ads, music videos and shorts - and it I’m in LA for one day and for one reason. driver to pick me up. This is not a common provided a home base for the great Igor I’m here to meet some of the people behind experience for me at all. And it occurs to me, Kovalyov to realise some of his greatest as I sit in the foyer of the hotel I can never creative auteur flms. some of the animation I hold dearest. I’m here to visit the Klasky Csupo Studio. This, remember the name of and stare out the I’m nervous. I shouldn’t be, but I am. I’m for me, is an extremely big deal. It’s a kind of window looking for somebody I’ve never met sitting in the lobby of the same airport hotel hallowed ground, some sort of fountain of to take me to visit one of the real legends of I stay at whenever I trundle through Los the really, really good stuff. my animation world, that the possibilities for Angeles and I’m waiting for somebody stumbles, misspeaks, etiquette errors and I’ve never met. And I’m nervous. I try to ‘Bumpers’ are micro-episodes that link miscellaneous humiliations are more or less simultaneously focus intensely on every otherwise unrelated segments of a TV show boundless. It makes me nervous. person that arrives whilst trying to let my and Klasky Csupo created the original The mind wander and think of other things. I’m a Simpsons bumpers for the Tracey Ullman Two low-wattage misfires involving me guy - that’s not easy. Show. From there, they produced the introducing myself to a couple of people first three seasons of The Simpsons TV who look like they might just be Arlene It occurs to me that even though I stay in this show. For those with a taste for the cult Klasky’s driver confirm my worst fears same hotel two or three times a year and classics, Klasky Csupo is the studio behind about the fiery pits these creatures surely have done for 10 or 15 years, I can never the absurdly brilliant Duckman show. If hail from. Whenever I find him, I reason,this remember its name, surely some sort of mainstream blockbusters are your thing, guy isn’t going to be too happy about being statement on the blandness of airport hotels. Klasky Csupo has some pretty big flags despatched down to LAX to pick up some I’m sitting in the exact seat where, more or planted in that territory as well with hits dude from some festival at the bottom of less twelve months earlier, I’d sat and spent such as Rugrats and The Wild Thornberrys. world. I brace for the chill. a wonderful afternoon with Tee Bosustow And topping out their credentials as the and we’d talked about his terrific collection of real happiest place on earth, Klasky Csupo I hear the word “Australia” rise just above the UPA films and getting him to MIAF to present provided a creative haven for one of my low muffled hum of the lobby andwith that a guy in casual jeans and a pretty damn cool them. All of which happened. He was a favourite animators, Igor Kovalyov, who superb guest, the programs were triumphs produced a couple of his most enigmatic T-shirt is pointed towardsme by the person at as far as I was concerned. Surely, good masterpieces whilst under the sheltering roof the desk. Here comes Gabe, my driver. OK, karma exists here - but I’m nervous. created by Gabor Csupo and Arlene Klasky. so far so good. He professes to being real happy to get out of the office and welcomes On one level, I’m a little surprised to have I had been on a search for those original The me to LA. made it. I flew in late the previous afternoon, Simpsons bumpers for years. A series of leaving Frankfurt and arriving in LA on the contacts leading to other contacts had led You’d think I would have other things to tenth anniversary of the September 11 me to being introduced to Arlene Klasky. I worry about, but since I’d gotten up that attacks. I had expected a savage ramping could have cut through the red-tape conga morning I had been stressing about protocol: line and just phoned her. Arlene is about as was I supposed to just hand the driver my 76 stuff, mutter some perfunctory greeting and trailers and graphics grew into the hundreds. exploring more and differing ventures. He climb into the back seat? Australians don’t launched two music labels, Tone Casualties really work that way; it feels weird. Couldn’t It was, however, 1988 and the gig to create and Casual Tonalities, both dedicated to do it in the end and I asked if it was OK to The Simpsons bumpers that set Klasky discovering new artists within the ambient ride up front. It was and we hit the road. Csupo onto a much steeper trajectory. electronica genre and exploring the Smooth run all the way to the studio. Gabe’s Turning this into a primetime special for the convergence of technology, electronics and story is an interesting and affecting one and emerging Fox TV provided extra fuel for the music. A gifted musician and composer, wasn’t offered so that it could be retold here boost and producing the first three series his own first solo album was memorably but it was my introduction to the notion that of the The Simpsons TV show saw them described by one critic as the “soundtrack to being part of the Klasky Csupo Studio is a bit ascend to the highest possible plain and stay a truly dark dream”. like being in a family; it is bigger than simply there. On top of that he has opened restaurants, having a job. It’s kind of a lifestyle in some After three years, the relationship between ways. produced stand-alone artworks and Klasky Csupo and the production company directed a live-action feature called Bridge When you walk in the front door, it’s pretty that owns the show ended on less than To Terabitha in 2006 for Walt Disney and hard not to notice the awards. There’s a amicable terms. By 1991, proving they were Walden Media. hell of a lot of them including a haul of eight more than a one-hit studio, Klasky Csupo Emmys and 11 Kids Choice Awards from had Rugrats up and running on Nicktoons With this burgeoning success and the Nickelodeon. Rugrats even has its own star and would go on to create more than 200 spreading diversity of projects came the down on Hollywood Boulevard. episodes as well as the blockbuster movies. need to bring some order to the increasingly The Rugrats Movie was the first non-Disney cacophonous Klasky Csupo parade. Various Sitting down with Arlene Klasky and getting animated feature to pass the $100,000,000 divisions were created to handle different her first-hand account of Klasky Csupo’s mark. Raise the extended little pinky finger types of projects. Ka-pow! was set up to history makes it all sound almost easy and on your left hand to the corner of your mouth look after ads, other divisions were set up to inevitable, even as she describes the peaks and say it long and slow with a glint in your handle on-line, cable series and feature film and troughs the studio has been through eye! It’s a huge achievement. developments. over its history. In 2000, they established Global Tantrum to Graduating from Chouinard Art Institute (now focus on the development and production CalArts) and with a background in graphic ...producing the of pilots, internet and grown-up oriented design, Arlene Klasky’s enduring passion is frst three series of animation entertainment. This point didn’t creating quality, engaging film and television the The Simpsons come clearly into focus until lunch. Arlene for children and young adults. It is tempting TV show saw them has selected a gleaming, uber-stylish to imagine her as a strong creative force but ascend to the highest Japanese restaurant for lunch and that was with a steady hand on the company tiller “ to be the venue for my first meeting with helping her ship navigate some pretty stormy possible plain and Gabor. As we stood outside I am back to times. She is generous and thorough in her stay there. being nervous. For starters, this joint is way telling of the Klasky Csupo story but also above my pay-cheque and I was pretty mindful of the consequences of having the sure I would actually never be allowed in wrong thing (true or not) published, because had I simply rolled up by myself. My head In 1992 Klasky Csupo self-financed a Hollywood is a pretty small town some days. was stuffed with the events and information 16-minute 35mm pilot of Duckman. It was download that I had had so far. Gabor Csupo is a different character not until two years later that it premiered altogether and has a dramatically different on the USA Network and they went on to But it was about to get a lot fuller. Gabor background. He is, in person, something produce 82 episodes, creating a bonafide arrived. And he had plenty of stories to tell, of a human whirlwind. Arlene describes cult classic along the way. Duckman is surely most of which Arlene was quietly hopeful I him as “something of a Renaissance man” one of the oddest, most distinctive and wildly would have the good manners not to repeat and when you get your head around that original animation characters on TV and will or publish. No problem. But my favourite description (which took me a little while to never date! repeatable story relates to Gabor’s obsession do within the LA context), it’s a bullseye. His (which is not too strong a word in this Other highlights of the Klasky Csupo story more oft used tag of “fiercely independent” instance) with Frank Zappa. include the release of two Igor Kovalyov barely does justice to that epithet - he is a films Bird In A Window (1996) and Flying man who has lived and worked to no-one’s Gabor is insistent that one of the first things Nansen (1998). Kovalyov is a unique figure rules and restrictions. he wanted to do when he wound up in in the world of auteur animation. His films Sweden was to learn English solely for the He and four friends escaped to Austria from stand alone as purely individualistic artistic purpose of being able to understand the communist Hungary in 1975 through a pitch visions. Along with Aleksandr Tatarskiy he lyrics of Frank Zappa’s recordings. He uses black train tunnel. Without passports, they co-founded Pilot Studio in his native Russia this as a springboard for a dissertation on eventually wound up in Sweden, which is in 1988 fine-tuning his highly recognisable the value and meaning of Zappa’s music where he and Arlene met. In 1979, he and drawing and abstracted narrative style there that would have done any serious scholar Arlene returned to America where he began before shifting to the US. Finding a welcome on the subject proud. The man knows his working at Hanna-Barbera as an animator. from Klasky Csupo, he was allowed total Zappa. Fast forward a couple of decades From there it was only a matter of time freedom to create films in the second phase and he is running one of the most successful before an independent studio such as Klasky of his career. I remember meeting him for the animation studios in Los Angeles, in the Csupo would emerge. first time at a festival in Germany not long world in fact. His passion for Frank Zappa after Flying Nansen came out and being has only multiplied over the years. Behind It was born in 1982 when they began thrilled to receive his permission to screen his desk is a giant poster of the great man producing commercials and graphics for the one of the first retrospectives that would with the slogan “Frank Zappa For President” entertainment industry. Stories abound of a include that film. It was pretty much the first scrawled across it. Through a series of room stacked to the brim with computers, retrospective MIAF ever screened and I had coincidences and contacts of contacts, hiring staff almost off the street and taking no problems at all convincing my colleagues the type of web that Hollywood thrives on, briefs with barely a clue on how to deliver back at home base – it only took one viewing Gabor is given very short notice that he will, the finished product. The bedroom studio of the battered VHS tape that I walked in the if he is interested, receive a visit from Zappa start-up is the stuff of legends but no thriving door with and they were as hooked as me. who wants to meet him. Zappa walks into business could’ve stayed there for long and the office, points at the larger than life size In the mid-1990s, holding true to his they expanded out of there in 1983 as the poster of himself and says to Gabor, “Man, “Renaissance man” handle, Csupo was client roster grew and their output of ads, you’re fast. Where’d you get that?”

77 Gabor Csupo can appear to fly off in many directions all at the same time. I suspect it’s a mistake to think that’s his entire modus operandi. It’s probably worth thinking of these multi-directional flares as a kind of cover-fire for the missile that’s coming straight through the centre. He must be a hell of a lot of fun to negotiate with. I cop a little of this when, immersed and trying to keep track of his colourful observations of the characters he has encountered in Hollywood over the years, he suddenly asks me how Bench Pressly 7’45 The Way The Dead Love 10’20 I hope to do a festival screening of Klasky Super-detective Bench Pressly and his A dark rendition of a series of deeply Csupo works. I’d been wondering the same female sidekick Sho-Girl fight foes and perverse Charles Bukowski short stories thing myself, concerned I might have come villains in the backdrop of a futuristic Las featuring a down-on-his-luck loser who to the meeting underprepared. I suppose I Vegas. From the unpredictable minds of makes a deal with the angel of death to was hoping like hell to obtain permission to Ahmet Zappa and Sean Abley spare his life if he’s able to write a love show the The Simpsons bumpers (a mission story. I haven’t yet fully given up on), maybe blend it with some of their ads, music videos and perhaps an Igor Kovalyov film; it’d be interesting.

That’s when Global Tantrum comes up. “Man, how many pilots did we make back then?” he asks out loud. “So many, I’ve lost track. Why don’t you show some of those?”

And so here we are kids! One day a big box of ‘nothin’ but love’ arrived in my post box with a thud. I was so excited I took it into the Immigrants: Vladislav’s Quest You Animal 9’30 café I go to every morning and told them 16’30 what it was. They looked at me like I’d lost Joseph Poot is hot, hot, hot! The star they the shredded remnants of my mind. True Classic Klasky Csupo visual styling. A call “Mr Chairman” is at the top of his and false all at once. Perhaps the café blurt dangerous hilariously satirical and achingly game, shuttling between Vegas, where was a step too far but in that box were a insightful cocktail, this is the segment that he headlines as a singer, and his home in couple dozen of the pilots that Klasky Csupo sets up the characters, quandaries and Bel-Air, where he hosts his own TV show. created through the 2000s. Mostly, they predicaments pursued in greater length in That’s pretty good going for a horse, even work as teasers for network execs, attempts Klasky Csupo’s feature of the same name. one as handsome as he is. to get production funding to create a series. Sometimes, I suspect, they are a primarily creative pressure release valve. Some of them were never going to be produced, some of them you wonder how they could have been passed over. But they are a super interesting and alternative insight into the creative soul of a studio which has produced some of the most popular animation of our time.

What I’ve programmed does wind up skewing away from many pilots that were Citizen Tony 12’05 Stinky Pierre 7’00 aimed squarely at the teen or young adult For reasons that need little illumination A deliciously warped little teaser from the market. That’s a bit of a pity because there Tony ain’t doin’ so well with the ladies. pens and minds that gave us Duckman. is some really good work in there. This time Things start to look up when he advertises Buster Roland is a bright and innocent ten- around I was keen to show their works for “Free Oil Change For Ladies” at his garage year-old orphan in the care of his uncle, the ‘grown-up’ market. I plan to talk to Arlene – and then a dude in a dress turns up. Stinky Pierre, a man so hopelessly inept as Klasky about a better, more relevant use for a parent that he considers home-schooling some of the remaining pilots because the to be an opportunity to teach Buster the best of them are very good and they stand skills required to mix a perfect martini. as testament to the kind of work she most wants to produce. I truly hope this is only the beginning of the connection between MIAF and Klasky Csupo, although the next time I guess it’s my turn to cover lunch and we’ll probably have to be looking for a different lunch venue if it’s going on my card, sorry to say.

Malcolm Turner. Chuck Sweet 11’20 Chuck is – to the say the very least – a foot-long sandwich short of a less than tasty picnic. Nowhere are these tendencies more likely to erupt through his cracks than when he’s coaching his junior baseball team.

78 The History of Lithuanian Animation (an abridged version of an essay) by Dagmar Vánová

Lithuanian Animation has a history Until 1984 Lithuania was the only former Lithuanian animation too has become dating back one hundred years. At Soviet republic that did not have its largely individual. What once required its beginnings there was one of the own national professional animation entire teams can now be done by one greatest pioneers of animation, self- studio. Neither historians nor filmmakers person. Computer animation is also used taught flmmaker Ladislas Starewitch. themselves agree completely as to what by the classics, allowing them to continue factors were behind that. Whether it making films. The young generation of Although he was born to Polish parents, was the monopoly of Soyuzmultfilm, or animators are mostly graduates from the he spent his early teens at the turn of rather a certain reluctance on the part Vilnius Academy of Art. the 20th century in Kaunas, Lithuania of the Lithuanian Film Studios. While where he was raised by his late mother’s financial flows went both ways, and so Lithuanian animation combines various family. There he also began his first did filmmakers and their “know-how”, all themes ranging from fairytale motifs to filmmaking experiments on commission scripts had to be approved in Moscow philosophical and social themes, which from the Kaunas City Museum that also only. Officially, only graduates from the often tend to blend unexpectedly and lent him his first camera for this purpose. Moscow school VGIK and higher courses can be found in many films. This creates Ladislas Starewitch was known to be a organised by Mosfilm were considered a sort of an amalgam that is cohesive passionate entomologist and innovator. professionals. It was a two-year course on in terms of animation. Often, the films Originally he intended to film entomology animation screenwriting and directing, to feature a fair amount of humour - whether documentaries. Becoming an animator which only university-educated candidates slapstick, satire or black humour. In terms was rather a coincidence. The subject could be admitted. The course included of animation techniques, throughout its of his interest - bugs - always froze lectures by prominent Russian animators history there has been puppet, hand- when in the spotlight, so they could not Yuri Norstein, Fyodor Chitruk and Eduard drawn, cutout, combined and shadow be filmed moving. That was when he Nazarov. Here unconventional ideas were theatre technique. Finally, current decided to ‘animate’ them artificially. also passed on by such film masters as computer trends have also been used. After killing them, he put wires inside so Andrei Tarkovsky and Nikita Mikhalkov. In addition to formally innovative or that he could - for the first time in human The first Lithuanian to complete the experimental films, it also includes films history - shoot them phase by phase in course was remarkable animator Nijole whose form is close to the Disney or Pixar different positions. It can be assumed Valadkeviciute whose debut The Tree style, as well as films featuring elements of that his first animation achievements were (1983) was co-produced by the Lithuania the ‘Soviet formal school’. already made during his stay in Lithuania. Film Studios and gave an indirect impetus He used his early experience to make a for the establishment of the professional film called Lucanus Cervus, which was section of animation in 1984. Other course created in 1910 and is considered the very graduates are Ilja Bereznickas, whose first puppet film in the world. Starewitch’s Bogeyman (1987) influenced several Lithuanian period is associated with his generations and has become an icon in first early film achievements. As a rather Lithuania, as well as idiosyncratic Zenonas solitary filmmaker, Starewitch had neither Steinys, whose early work is said to have followers nor companions in Lithuania. been influenced by Grazina Brasiskyte. Therefore, after he left for Russia and later Later, the filmmaker profiled himself as the for France, there was nobody in Lithuania creator of timeless contemplative films full who could build directly on Starewitch’s of symbolism, such as Generosity (1988) work. that is ranked among the top ten best In the 1960s, animation developed in Soviet films. rather amateur conditions, in the form of In the 1980s and 1990s many Lithuanian isolated projects. Zenonas Tarakevicius animators emerged from the ranks of worked in very unconventional conditions architects, designers, graphic artists of a factory hall in Kaunas, where he made and cartoonists. These include Henrikas The Wolf and The Tailor. As an animator Vaigauskas, Sarunas Jakstas, Vitalijus in a combined film team of the Lithuanian Suchockis, Valentas Askinis, Jurate Film Studios, Antanas Janauskas made Leikaite, Algirdas Selenis, Aurika animated sequences for documentaries Seleniene and others. These filmmakers’ and newsreels. He used the remaining activities overlap in various ways and in 79 material to make A Girl and the Devil various projects. After Lithuania became (1967), a two-minute animated short special thanks to the independent in 1990, some artists Lithuanian Embassy unsanctioned by Moscow, that was founded their own studios where they followed by Initiative in 1970. Initiative is continued their work, such as Vilanima considered the first Lithuanian animated Studio, Animacinu studio AJ and film ‘produced’ by the Lithuanian Film Animacijos studija. Studios and is a minimalist response to the events of the Prague Spring of 1968. With the advent of computer technology,

79 Lithuanian Retrospective(15) at the Barbican Sat 27 October 14:00 The Secret Bridge of a Cactus (Tiltas) 2007, (Kaktuso 4’00 paslaptis) Based on a Franz 1988, 5’00 Kafka story - cut- A fairytale about a love that is more outs, hand-drawn images and photo’s powerful than anger. collide to depict a philosophical story of life’s continual challenges. Director Valentas Aškinis Director Ieva Miškinyte The Insects’ Christmas Generosity 1913, 6’00 (Dosnumas) Ragana - A Witch´s A Father Christmas ornament climbs down 1988, 10’00 from a decorated tree and goes to the Magic Ranked among (Ragana forest to spread cheer among the insects the top ten best and frogs. One of the first ever animated Soviet films ever, the dreamy images map - raganos films made by the godfather of stop- the basic phases of human life: childhood, burtai) 2008, 1’23 motion using live beetles and other bugs. adolescence, adulthood and old age. This witch has made a pact with the devil – Director Ladislas Starewitch Director Zenonas Šteinys and everything goes into the mix. Director Antanas Skucas The Wolf and The Chair the Tailor (Kede) (Vilkas ir 1995, 1’00 siuvejas) 1966, A minimalist 7’35 classic. Officials Sometimes a measuring tape, a pair of change, the chair stays. scissors and an iron are all you need to Director Antanas Janauskas defeat a wolf. The very first Lithuanian hand-drawn animation is based on a fairytale with a timeless poetic quality. Director Zenonas Tarakevicius Synchronization Initiative (Sinchronizacija) 2009, 8’15 (Iniciatyva) A film for lovers of drifting, rotational objects - starring a library of abandoned 1970, 4’00 factories, towers, chimneys, antennas, The consequences electricity installations and other devices. of selfless Director Rimas Sakalauskas assistance and the path to Hell can be paved with good intentions. This film was Metamorphoses created as a response to the events of the (Metamorfozes) 1996, 7’00 Prague Spring of 1968. A subtle study of interpersonal Director Antanas Janauskas relationships set against the backdrop of an old system collapsing and a new one The Tree taking place. (Medis) Director Jurate Leikaite 1983, 5’09 A nine-headed The Tail dragon chases a (Uodega) girl who is saved by a magic tree. 2007, 5’35 Independence Day 2012, 6’00 Director Nijole Valadkeviciute A fox and a wolf, A man escapes the radio looking for friendship and freedom. At least he finds his lost hat. Bogeyman betrayal, and the relationships between Director Urte Budinaite (Baubas) animals and people. 1987, 10’00 Director Rasa Jonikaite Even a bogeyman can be your friend, once you see through his tricks. Director Ilja Bereznickas

80 Animation Industry Event

Our Animation To Finity and Beyond: The Speakers Industry Event Future of Animation in the UK Samantha Moore independent film maker, Animator, Senior Lecturer in Animation at Chairman Saint at the Barbican Fri 2 November 10:00 John Walker has University of Wolverhampton been brokering Government Tax breaks are heralded Patrick Jenkins Artist, Animator, Film making the UK a different place to do new animation and Director at Patrick Jenkins Studio animation business. Aardman themselves computer games Tim Webb Senior Tutor, Royal College of Art proclaimed the tax credit would be talent at the interface of education Jonathan Hodgson Animation Director, “transformational” for the industry. So Sherbet, Programme Leader BA (Hons) and industry for over ten years, and what are the implications for animation Animation, Middlesex University joined Creative Skillset from FDMX, companies, freelancers and educators the Film and Digital Media Exchange, alike. Are we prepared? Will there be a In a World… The Art of where he was a founding member of trickle down effect, or will big business ‘Games Eden’ (www.gameseden.org) be the only ones to gain? Are we just Animated Film Titles the East of England’s games business talking about well known brands returning at the Barbican Sat 3 November 10:00 networking organisation. to these shores (Thomas the Tank Engine Type ‘Animated Title Sequence’ into from Canada, Bob the builder from Google and you’ll get 2,150,000 results Saint was nominated for the Times the US, Noddy from Ireland) or are we which is a measure of the popularity and Higher Education Awards in the Widening looking at a new renaissance of animation impact it has. Distilling a movie or tv series Participation category for 2007 and has innovation, exploiting new technologies offer into a few seconds needs skills prior to Creative Skillset employment and intellectual property to create the next in storyboarding, editing, and an acute finished terms as an external examiner Peppa Pig or Harry Potter. We assemble a understanding of the audiences tolerances for MA courses at two Creative Skillset group of campaigners, studio heads and and expectations. Take the Bond films as academies, the University of Wales (MA educators to paint a picture of the industry an example, and how they evolved, and Animation) and University of Hertfordshire in five years time. how the audience’s expectations were (MA Film and Media). Speakers raised each time, making it a status symbol Oli Hyatt Managing Director at Blue-Zoo to be asked to make one. For something Recent work includes the Core Skills of Productions so short there are often large teams and VFX Handbook for those in education Miles Bullough Independent Media sometimes large budgets, and always or entering the industry, a VFX skills Consultant, ex Head of Broadcast, large pressures. We look under the bonnet programme for British Universities, a new Aardman Animations of the film title sequence; and ask leading Games Design postgraduate accreditation Marion Edwards VP Production at HIT proponents how you get commissioned, scheme, and helping to deliver the Entertainment who is in control, what are the pressures, recommendations of the Livingstone Ken Anderson Creative Director and and howmuch creative leeway do you have? Hope skills review with NESTA for the UK Executive Director at August Media Speakers government. Holdings, CEO Red Kite Brad Le Riche MGFX team Rushes Gary Thomas Associate Director, Animate Paul Donnellon Creative Director and The LIAF industry event (held in Projects; Film Adviser, British Council Animation Director, VooDooDog partnership with Creative Skillset) is aimed Anna Swift Framestore at professional animators, those who Moving Documentaries: More Speakers to be announced work with animation, individuals who want Animation, Truth and Lies to get a start and the indelibly curious. at the Barbican Fri 2 November 14:00 Sound in the Frame The art and technology of animation is at the Barbican Sat 3 November 14:00 changing ever more rapidly - there are Animation is associated with the surreal opportunities and challenges ahead, and and fantastic, but also has a long and Anyone who works in animation knows the impact sound and music makes to an the four panel sessions are set up to help distinguished history in documentary, from Winsor McKay’s 1918 12-minute- animated project – but just how important navigate key issues. Featuring an eclectic long film The Sinking of the Lusitania, to are their contribution in the making of array of guest speakers from the industry Ari Folman’s Waltz with Bashir exactly 90 an animated film? This session will be a the topics discussed and analysed are... years later. Persuasive, illustrative and able general discussion, with examples of the to get over abstract details in attractive and influence of these two elements in the compelling ways, animation is still being creation of an animation project used to document someone’s version of Speakers the truth, from propaganda to imagined Maria Manton Producer and Director at visualisation of the microscopic or unseen Mia Manton, ex-Slinky in partnership with Creative Skillset in medical and architectural visualisation. Mark Ashworth Sound Designer How do animation documentary makers Ruth Sullivan Foley Artist describe their practice, and what is More Speakers to be announced special about the medium? Can the use of animation in documentaries always be justified? Is the agenda about accessibility, or dumbing down?

81 We’ve realised that 2000+ entries per year isn’t quite enough to keep our animation needs in check, so we’re trying something new this year – LIAF’s frst Flipbook Challenge… 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 2012 at the Barbican’s new cinemas. 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 paperback; the post-it notes on your desk; grab yourself Illustration by Claude Trollope-Curson a bulldog clip and some pieces of card… you get the idea. Entry is simple, go to our website and download a form. /LIAFanimation /londonanimation www.liaf.org.uk Flipbook Challenge Workshop at the Barbican Sat 27 October 16:00

If you’ve not made a flipbook before, or Patrick Jenkins’ Biography Urte Budinaite’s Biography if you’d like to find out a little more about this particular form of micro-animation, Patrick Jenkins is an award winning artist, Urte Budinaite is a lecturer in animation at then pop along to our Flipbook Challenge animator and documentary filmmaker. Vilnius Academy of Arts, College of Design Workshop. Flipbook veterans Urte Among his awards are: Best Animation & Technologies, and J. Vienožinskis Art Budinaite & Patrick Jenkins will be sharing Prize at the 2010 Toronto Urban School. She has a Master’s Degree in their expertise in the form of tips, tricks Film Festival for his recent film Tara’s Animation from Estonian Academy of Arts. and demonstrations. Urte & Patrick, will Dream; first prize at the 2010 Toronto She also leads animation workshops for talk you through the basics as they explain Animated Image Society Showcase for children and has animated a number of the principles of the flipbook, reveal a his film Amoeba; and 1st place in the films. The most recent of which, the hand- variety of techniques and then guide you Independent, 6 to 30 Minutes Category, drawn Independence Day is screening at as you embark upon creating your own. at the 2009 KAFI Festival for the surreal this year’s LIAF Lithuania Retrospective. detective story Labyrinth (2008).

Special thanks to Shepherds Falkiners

82 Index

83 Film Index

Black Doll (Prita Noire) Sofia Carillo Sung-Hyun Joo, Yong-Jin Kwon & 0-9 25 Hee-Seung Song 34 20 Hz Semiconductor, Ruth Jarman & Joe Gerhardt 29 Blanche Fraise Frédérick Tremblay Demon Kills Ying-Ping Mak 48 25 38-39 Degrees Kangmin Kim 61 Dirty Alice - Power Crown Chris Bob on Charity Darren Walsh 51 Bristow 53 663114 Isamu Hirabayashi 19 Bob on Death Darren Walsh 51 Dodu The Cardboard Boy Jose 99 John Matthias Hoegg 46 Bob on Heaven Darren Walsh 50 Miguel Ribeiro 39 a Bob on Pain Darren Walsh 51 Dreams Keiichi Tanaami 19 Aalterate Christobal de Oliveira 20 Bob on Sport Darren Walsh 51 Bogeyman (Baubas) Ilja e A Child’s Metaphysics (Kodomo No Edmond was a Donkey (Edmond Bereznickas 80 Keijijougaku) Koji Yamamura 75 etait un ane) Franck Dion 27 Body Memory (Keha Malu) Ulo A clerk in charge Atsushi Wada 72 Egaro Bruno Salamone 61 A Different Perspective Chris Pikkov 15 Bonnie Masanori Okamoto 59 End The Death Penalty Jonathan O’Hara 20, 40 Hodgson 50 Bonobo - Eyesdown Anthony A Life Well-Seasoned Daniel Rieley En Parties Hugo Bravo 62 62 Schepperd 53 Eye Liner Joanna Priestley 30 A Tax on Bunny Rabbits Nathaniel Bottle Kirsten Lepore 38, 41, 61 Akin 13 Boy - Joey Fluorescent Hill 53 Bradley Manning has Secrets f A to B Malcolm Sutherland 23, 39 Fata Morgana Frodo Kuipers 15 Adam Butcher 46 About Killing The Pig (Dell’ Father Moritz Mayerhofer, Asparuh Bramula Sarah Rotella 39 Ammazzare Il Maiale) Simone Petrov, Rositsa Raleva, Veljko Massi 23 Bridge (Tiltas) Ieva Miškinyte 80 Popovic & Dim Yagodin 51 About the Hard Life of a Barn Bugu Aynur Fomin Çatal 37 Fig Koji Yamamura 75 Swallow Chintis Lundgren 17 Bydlo Patrick Bouchard 25 Flamingo Pride Tomer Eshed 61 Acorn Boy Dace Riduze 39 Fleeting Dream (Tamayura No AE Marcin Gizycki 29 c Yume) Mayuko Yamakita 59 Carbon Dylan Ladds 30 Agitated Screams of Maggots Flood (Fiumana) Julia Gromskaya Keita Kurosaka 69 Change (Valtozas) Virag Kiss 62 62 Al Dente Tango Maho Yoshida 59 Chase Adriaan Lokman 30 Fluffy McCloud Conor Finnegan Alimation Alexandre Dubosc 20, 39 Cherrywood Cannon Charlie Paul 38 Alois Nebel Tomáš Lunák 66 48 Fly Mill Anu-Laura Tuttelberg 61 And And Mirai Mizuie 18 Chuck Sweet Klasky Csupo 78 For No Good Reason Charlie Paul Anomalies Ben Cady 45 Citizen Tony Klasky Csupo 78 64 Arts and Crafts Spectacular 2 Columbos Kawai Okamura 19 Franz Kafka ‘A Country Doctor’ Sebastien Wolf & Ian Ritterskamp Coming of Oracle (Prohveti sünd) Koji Yamamura 75 36 Rao Heidmets 25 From Dad to Son Nils Knoblich 62 At the Opera Juan Pablo Zaramella Consultation Room Kei Oyama 72 From The Dolphin (Iruka Kara) 21, 41 Cornershop feat. Izzy Lindqwister Tatsuhiro Ariyoshi 59 - Who’s Gonna Lite Up Rocket Frosted Chocolate Mouse Donato b Science - Vidya Sharma & Rajesh ‘Milkyeyes’ Sansone 37 Babel Henrick Dusollier 34 Thomas 53 Fully Cooked For You (Onishime Beluga’ Shin Hashimoto 72 Countdown Celine Desrumaux 34 Otabe) Yuka Imabayashi 60 Bench Pressly’ Klasky Csupo 78 Cut///Fixe Audrey Coianiz 34 Big House (Suur Maja) Kristjan g Holm 13 d Generosity (Dosnumas) Zenonas Björk - Crystalline’ Peter Sluszka & Dead Bird Trevor Hardy 45 Šteinys 80 Michel Gondry 52 DEMAG: Desire Is Magnetism Gotye - Giving Me A Chance Gina

84 Thorstensen & Nacho Rodriguez 53 L’Air De Rien Cecile Milazzo 62 Omerta Nicolas Loudot, Fabrice Grand Prix Anna Solanas & Marc Las Palmas Johannes Nyholm 37 Fiteni, Arnaud Janvier & Gaspard Roche 61 Riba 38 Last Breath Mak Ying Ping 45 Once Upon A Time (Conte De Green Fairy Tochka 72 Lazarov Nieto 36 Faits) Jumi Yoon 62 Gristle Jamie Clennett 17 Life and Stuff Kumar Satkunarasa One Second Per Day (Une 61 Seconde Par Jour) Richard Negre h Little Monkey Delphine Dussoubs 30 Hand Soap Kei Oyama 72 61 Organopolis Nieto 37 Here and the great elsewhere Lorn - Ghosst(s) CRCR 52 (Le Grand Ailleurs et le Petit Ici) Out On A Limb (Ast Mit Last) Falk Lorn - Weigh Me Down Max Michele Lemieux 27 Schuster 13 Friedrich 53 Hidden Place Stephen Irwin 47 Luminaris Juan Pablo Zaramella p Hinterland Jakob Weyde & Jost 12, 40 Althoff 62 Paper Box Zbigniew Czapla 51 House Wanders, Bird Water Full m Paso Doble Jamie Metzger 14 Veronika Samartseva 61 Many Go Round Yoshihisa Passenger Africanus Okokon 62 How Shammies Bathed Edmunds Nakanishi 18 Peacemaker Mac – The Island Of Jansons 39 Marvin Mark Nute 41 Dispute Yotam Cohen 61 How To Eat Your Apple Erick Oh 16 Metachaos Alessandro Bavari 34 Pieces of 3.11 Kotobuki Shiriagari How to raise the Moon Anja Struck Metamorphoses (Metamorfozes) 19 25 Jurate Leikaite 80 Playground Mirai Mizue 72 Midori-ko Keita Kurosaka 68 Plume Barry Purves 25 i Modern No.2 Mirai Mizue 72 Pop Rachel Moore 30 I’m Fine Thanks Eamonn O’Neill 61 Moones - Better Energy Peter Premiere Stepan Birukov 39 Immersed Soledad Aguila 47 Sluszka 53 Immigrants: Vladislav’s Quest Mount Head (Atama-yama) Koji Klasky Csupo 78 r Yamamura 75 Ragana - A Witch´s Magic In A Pigs Eye Atsushi Wada 72 Moxie Stephen Irwin 21 (Ragana - raganos burtai) Antanas Independence Day Urte Budinaite Skucas 80 Mulvar Is Correct Candidate 80 Patrick Desilets 37 ReBuild Tochka 72 Independent Mind (Independencia Murky Papers Heta Jokinen 34 R.E.M. Florentine Grelier 29 de Espirito) Marta Monteiro 15 Muybridge’s Strings (Les Cordes Resale Right (Le droit de suite) In Dreams Samuel Blain 34, 51 de Muybridge) Koji Yamamura 13, Pierre Emmanuel Lyet 23 Initiative (Iniciatyva) Antanas 75 Rew Day Svilen Dimitrov 17 Janauskas 80 My Brother Greg (Mein Bruder Right In The Middle (Zmitzt Drin) Ishihara Yoav Brill 51, 61 Franz) Philipp Enders 13 Cecile Brun 62 I Saw Mice burying a Cat Dmitry My Dry Wet Mess – ‘Etc’ Martin Robots of Brixton Kibwe Tavares Geller 23, 41 Allais 53 34 Island Of Man (Hito No Shima) My Face is in Space Tom Jobbins Romance Georges Schwizgebel Alimo 60 14, 50 17 It’s Such A Beautiful Day Don My Music Tiago Albuquerque & Rootless Heart (Samayou Shinzou) Hertzfeldt 26 Joao Braz 21 Toshiko Hata 60 My… My… Lei Lei 15 Rosette Romain Borrel, Gael j Falzowski, Benjamin Rabaste & Jam Fish Senri Iida 60 n Vincent Tonelli 37 Natural Urban Nature Min-ji Kang k 15 s Kali The Little Vampire Regina Nightingales in December Scratch Bandits Crew - Heart Pessoa 12, 41 Theodore Ushev 13 Beat Nicolas Dufoure/Icecream 52 Koppiekrauw Erik Butter 37 Night Sounds Jacob Stalhammar Sensology Michel Gagne 30 Kottarashky & the Rain Dogs - 23, 41 September Thibault Chollet 13 Demoni Theodore Ushev 53 Noise Przemyslaw Adamski 34 Seven Minutes in the Warsaw Kubla Khan Joan C. Gratz 15 Ghetto Johan Oettinger 23 o Shadow Stories Samantha Moore l Oedipus Paul Driessen 21 51 La Détente Pierre Ducos & Bertrand Oh Willy Emma de Swaef & Marc Some Actions Which haven’t Been Bey 16 James Roels 27 Defned Yet in the Revolution (Yi

85 Chang Ge Ming Zhong Hai Wei The History of An Orange Emma Lai De Ji Ding Yi De Xing Wei) Sun Lazenby 47 u Xun 23 Uncapturable Ideas (Idea Ga The House (Das Haus) David Buob Tsukamaranai) Masaki Okudam Sorceress Patrick Jenkins 17 13 60 Specimens Of Obsessions The Insects’ Christmas Ladislas Underlife Jaroslaw Konopka 25 (Hyouhon No Tou) Atsushi Makino Starewitch 80 Ursus Reinis Petersons 41 19, 60 The Life Of The Weed (Kusa No Spin Max Hattler 14 Isshou) Sonomi Takada 60 v SPONCHOI Pispochoi Pecoraped - The Little Bird and the Leaf Lena Villa Antropoff Vladimir Leschiov & Ikue Sugidono, Miyako Nishio 37 von Dohren 39 Kaspar Jancis 15 Spots Spots Yuanyuan Hu 59 The Maker Christopher Kezelos 23 Visitation Suzan Pitt 21 Stay Home Caleb Wood 61 The Making of Longbird Will Volli Pall Chintis Lundgren 21 Steps Tochka 72 Anderson 27 Stinky Pierre Klasky Csupo 78 The Mechanism of Spring (Haru w no Shikumi) Atsushi Wada 19 Stopover Neil Stubbings 17 Wagon Christ - Chunkothy Celine The Old Crocodile (Toshi wo Totta Strings Benjamin Ducroz 30 52 Wani) Koji Yamamura 75 Stuck in a Groove Clemens Kogler We Cut Corners - Pirates Life The People Who Never Stop 17 Kijek/Adamski 53 Florian Piento 18 Sunset Rubdown - Nightingale/ We Cut Corners - The Male Mind The Pub Joseph Pierce 17 December Song Theodore Ushev Remy M Larochelle 53 52 The Scream Sebastian Cosor 37 Well, that’s glasses Atsushi Wada Swarming (Kuhina) Joni Mannisto The Secret of a Cactus (Kaktuso 72 62 paslaptis) Valentas Aškinis 80 What Does Otto See? Neil Baker Sweetheart (Sizyj Golubochek) The Shoemaker (O Sapateiro) 37 Ekaterina Sokolova 21 David Doutel & Vasco Sa 17 What else is the bobby pin good Synchronization (Sinchronizacija) The Sparrow who kept his word for? (Meg mire jo a hullamcsat?) Rimas Sakalauskas 80 Dmitry Geller 13, 40 Roland Toth-Pocs 21 The Tail (Uodega) Rasa Jonikaite What Makes Your Day? t 80 Napatsawan Chirayukool 46 Tchaikovsky - an Elegy Barry The Tannery Iain Gardner 17 When I Was Young Kaori Onishi Purves 13 The Tender March (Yasashii 62 The Back Room Michael Kren & March) Wataru Uekusa 60 Why Did the Chicken Cross The Mirjam Baker 22 The Tender Wife Anne Larricq 22 Road? Daniel Binns 44 The Backwater Gospel Bo The Thaw Kei Oyama 72 Wild Life Wendy Tilby & Amanda Mathorne 62 Forbis 15 The Tree (Medis) Nijole The Beards - Got Me A Beard Valadkeviciute 80 Within Within Sharon Liu 62 Chris Edser, Bill Northcott & Jarrod The Undertaker and the Dog Shin Worm Story Keita Kurosaka 69 Prince 52 Hashimoto 72 The Bill Bailey Animation Dan The Way The Dead Love Klasky w Lamoon & Mair Perkins 49 Csupo 78 Ygg’s Bird (Ygg No Tori) Mariko The Box (Die Kiste) Kyra Buschor Saito 60 The Wolf and the Tailor (Vilkas ir 61 siuvejas) Zenonas Tarakeviius 80 Ylem Jo Lawrence 48 The Case Martin Zivocky 61 The Women’s Day Gift (Podarok) Yonalure: Moment To Moment The Centrifuge Brain Project Till Mihail Dvorjankin 22 Ayaka Nakata & Yuki Sakitani 19 Nowak 51 This is Not Real Gergely Wootsch You Animal Klasky Csupo 78 The Chair (Kede) Antanas 62 Janauskas 80 Tiger Janis Cimermanis 39 z The Day I Killed My Imaginary Zing Kyra Buschor & Cynthia Collins Tom Waits - Hell Broke Luce Matt Best Friend (Antonio J Busto 41 Mahurin 53 These films are almost impossible Algarin 44 Zombirama Ariel López V & Nano Tram (Villamos) Rozi Bekes 23 to see outside of the film festival The Firebird (Ognisty Ptak) Andrzej Benayón 37 Gosieniecki 30 Transition 89 Lia 30 circuit. Many are exclusive to LIAF The Future Memories Pablo Munoz Turf Barnaby Dixon 44 We’re making them available to you Gomez 34 tWINs Peter Budinsky 36 The Goods Lars Jandel 16 Two Steven Subotnick 30 The Great Rabbit Atsushi Wada find out more at 19 /LIAFanimation /londonanimation WWW.LIAF.ORG.UK 86 These films are almost impossible to see outside of the film festival circuit. Many are exclusive to LIAF We’re making them available to you

find out more at /LIAFanimation /londonanimation WWW.LIAF.ORG.UK /LIAFanimation /londonanimation www.liaf.org.uk