Marie passed away peacefully the night of February 3rd 2011, withher husband, John, by her side. She battled hard for over three and a halfyears with metastatic breast cancer, having tumours in thelungs, and then a tumour in the brain. It seems fittingthen, that the first post I write here on heroes and inspirations is about her(my mum).
Growing up in the 70’s and 80’s mum was always there for whateverwe needed. She would always allow us our own freedom (or so it seemed). It’sonly in later life that you realise that that freedom came as an extra bit of slackon the parental reins. But it gave us chance to grow, explore and develop intoyoung adults.
There was never any “you must be a…” speeches, but therewas also never any “you must not be…”. In fact the closest any ofus came to that, was the fact that mum never wanted any of us to go intotheatre or acting. Ironically, and I never told her, animators are oftenreferred to as shy actors. But she probably knew.
Mum always worked and she worked hard. Even in her teens she ranstables for her father. The majority of her adult life she worked either as awife and mother or a teacher. Her subject, speech and drama, was something shehad fallen in love with as a girl (as I did with animation as a boy), and wenton to make a long and successful career from it, working in two private girlsschools, a drama school, and for many years successfully running her ownbusiness.
I was fortunate enough to, not only be taught by her, but to watchher teach. In my mid teens, due to High School “teacher trainingdays”, mum would often take me with her to the Drama School in Birminghamwhere I’d find myself surrounded by and semi immersed into the training of a dramastudent. This allowed me the opportunity to observe and understand the basicsof theatrical performance, and eventually incorporate it into my animation work.
Mum was a big influencein and on my life, and helped me become who I am today. Even in later life whenshe’d decided to retire from teaching due to her health (a decision that tookmuch courage), mum was always there to listen to plans and ideas with greatencouragement.
Everyone that met or knew mum could see what a wonderful and strongwoman she was. That strength was even there in her last days. Less than twelvehours before she passed away, she became a Great Grandma for the first time,one final tick on her checklist of achievements.
She touched the lives of hundreds of people during her life, fromfamily and friends to all of her students. She was loved and respected and willbe greatly missed.
This is a great little short. Not only does it combine two of my favourite things (animation and small Fiatesque cars), but look and feel draws you in straight away.
I stumbled across this delightful little film via Spungella. It’s absolutely charming and beautifully put together. The pace, timing and flow of the story, the characterisation, the shot composition, the use of lighting, are all incredible.
Also, via the films own site (www.dragonboythemovie.com) a great little bit of shot evolution. Check out the site for more on the film, including shot compositing clips and stills gallery.
I’m absolutely blown away by this. Least of all the fact that I loved Les Triplettes de Belleville (Belleville Rendez-Vous). For an animator, Tati’s work as actor and mime is great to watch (as is the work of most of the great mimes). If you’ve never watched any of his work then Mon Oncle (My Uncle) and Les Vacances de Monsiour Hulot (Mr Hulot’s Holiday) are great places to start.
The original unproduced script (by Tati in collaboration with his long term writing partenr Henri Marquet) was apparently written in 1956 as a personal letter from Tati to his estranged eldest daughter.
“The Illusionist is one of a dying breed of stage entertainers. With emerging rock stars stealing his thunder, he is forced to accept increasingly obscure assignments in fringe theatres, at garden parties and in bars and cafés. However, whilst performing in a village pub off the west coast of Scotland, he encounters Alice, an innocent young girl, who will change his life forever.
Watching his performance to the excited villagers who are celebrating the arrival of electricity to their remote island, Alice becomes awestruck by our hero and believes his tricks are real magic. Following him to Edinburgh, she keeps his home while he goes to work in a small local theatre. Enchanted by her enthusiasm for his act, he rewards her with increasingly lavish gifts he has ‘conjured’ into existence. Desperate not to disappoint her, he cannot bring himself to reveal that magic does not exist and that buying these gifts is driving him to ruin.
But as Alice comes of age, she finds love and moves on. The Illusionist no longer has to pretend and, untangled from his own web of deceit, resumes his life as a travelling entertainer, a much wiser man.”
I’ve been meaning to write a blog post about reels and applications for a while. This is not that post, but in the meantime, some wise words from Kenny Roy on “When Is the Best Time to Apply to the Big Studios?”…
“…So relax! If your reel is between 30 seconds and two minutes, has only your best work on it, and if you haven’t already applied within 3 months, just send that sucker in. And I’ll sleep easier knowing you aren’t out strangling somebody for the gig.”
Patrick Jean’ latest short film, shot on location in New York. Another one from the spam Inbox at work, courtesy of one of the animation team. Brilliant!
A colleague chastised me recently for lack of blog posting over the last few months… mea culpa …so, to make ammends, here’s a great little short (courtesy of Keith Lango’s blog). There’s some really great pacing, and the comic timing is pretty near perfect throughout.
Here’s a great little spot for the Tim Burton retrospective coming up at MOMA. Created & Produced by Mackinnon & Saunders (the best puppet makers in the world). Sadly I have no plans to be in NY over the next 6 months so I’ll miss out. But hopefully it’ll find its way to the UK.
“This major career retrospective on Tim Burton (American, b. 1958), consisting of a gallery exhibition and a film series, considers Burton’s career as a director, producer, writer, and concept artist for live-action and animated films, along with his work as a fiction writer, photographer and illustrator. Following the current of his visual imagination from early childhood drawings through his mature work, the exhibition presents artwork generated during the conception and production of his films, and highlights a number of unrealized projects and never-before-seen pieces, as well as student art, his earliest non-professional films, and examples of his work as a storyteller and graphic artist for non-film projects. The opposing themes of adolescence and adulthood, and the elements of sentiment, cynicism, and humor inform his work in a variety of mediums—drawings, paintings, storyboards, digital and moving-image formats, puppets and maquettes, props, costumes, ephemera, sketchbooks, and cartoons. Taking inspiration from sources in pop culture, Burton has reinvented Hollywood genre filmmaking as a spiritual experience, influencing a generation of young artists working in film, video, and graphics.”
I was digging about trying to find some old files for an interactive pilot I directed and co-produced and stumbled across these old British Milk marketing advert from the 90’s.
The animation and design team used them as a basis for the style and technique ffor the pilot (which I’ll share that with you at a later date).
There were a couple more as part of the campaign, but these two stand out as the best.
I'm Matt Palmer, and I've spent the last 15 years working as an Animator & Animation Director in TV, Film and Games.
This blog is a collection of my thoughts and advice on animation and the industry, as well as inspirations, heroes and other generally useful (my opinion) stuff for animation.