Há alguns dias, o Jornal do Brasil nos contactou pedindo para realizarmos uma entrevista com Mark Walsh, supervisor de animação da Pixar, que está no Brasil para um workshop sobre criação de personagens verossímeis no Anima Mundi. Quem foi no Rio diz que foi muito muito muito bacana mesmo. Vou conferir essa semana, em São Paulo.
A entrevista com ele se deu por e-mail, por intermédio do Jornal do Brasil, e ficou bem legal. Aí vai ela, na íntegra. Eu sei que nem todo mundo fala inglês, mas assim que eu puder eu traduzo tudo!
Ou vocês podem conferir um trecho em português no site do jornal. Aqui!
1 - How did you start making animations, and how did you get in Pixar? Could you please tell us a bit about the work you developed in Ratatouille, the upcoming Pixar feature?
As a child, I was creative in music, performing, writing, drawing. I also loved watching cartoons. Thankfully, I discovered that animation could combine all my interests into one focus. At age 15 I attended a summer arts program that taught animation. Later, I studied at Character Animation at CalArts. Toy Story came out while I was a student there, and I was excited by the potential of this new type of
animation. My student film caught the attention of Pixar, and I've contributed to the films for 10 years now. Today I work alongside several friends from that summer arts program!
Ratatouille is a story that really speaks to a lot of us animators. It's about following your dream, no matter how unacceptable it may seem to others. Many parents want their kids to be lawyers or doctors, not cartoonists! I worked as a Supervising Animator on Ratatouille, supporting animators, casting scenes, and helping the Director, Brad Bird, get his vision on screen.
2 - You're coming to Animamundi, where you will give a workshop of character creation. What do you consider a good character? How do you start planning a character visual? In Pixar productions, how many people are usually involved on this process?
I consider a good character to have flaws. None of us are perfect-- it's the flaws that make us interesting and human. Some of our greatest journeys in life involve overcoming a personal shortcoming. These stories can make great movies.
Design-wise, the shapes of a character can say a lot about their personality. Many villians are angular while the strong guys are boxy. A softer character might be made up of circles. At Pixar, a Character Designer, Sculptor, and Animator may all contribute to a final design. We find a collaborative atmosphere is good or creativity.
3 - Many people don't know how difficult it is like to mane an animated feature. How long does a Pixar production usually takes to be done, from the ideas sketches up to the film finalization?
A typical Pixar feature can take 3-5 years to develop to a finished product. Most of that time is spent getting the story right. The public sees a new Pixar film every year because we have many projects at different stages of production.
4- How is the day-by-day of a animator in a big 3D studio and How is the pipeline that a scene pass through from development to the final approval?
A scene starts on the script page. Then camera angles and staging are explored in a storyboard. The final storyboard is replicated in 3-d, using the real models and sets. The Director then coaches the Animator on what the scene is about. Roughly a week later, the scene is finished in animation. Then it's rendered with all the eautiful textures, special effects, and lighting design that make our final images.
A normal day for an Animator begins at 9am with a meeting we call "Dailies". Animators gather in a screening room to hear the Director critique different scenes. Again, it is a collaborative learning environment. We are all inspired by the Director's comments and each others' work.
5 - How is your approach when you receive a scene to animate? What are the most important points that you think a animator should look for in it? And how do you analyze and do the planning for a scene?
Many animators like to draw, and many love computers. But the first thing ask ourselves is, "What is this character thinking?". We also study movement and the world around us. That study helps in give our animation believable weight and physics.
6 - What is secret of Pixar? What are the the strongest points of the studio? Why do you think that the features made there are so outstanding?
Everyone at Pixar may have different opinions, but I think the secret is that we constantly ask ourselves, "is there a better way to do this?". We do and redo and redo everything until it is the best we can make it. Talented people everywhere make mistakes, and so do we. At some point in production, each of our films have been troubled. But we get back up and collaborate ways to make it better. There's no
magic behind it, just supportive people and hard work.
7 - How is the Pixar and Disney joining going? What you think is better and what may be worst now?
Pixar has always known how to support artists and the creative process. Disney has been extremely respectful of our culture, keeping Disney Animation and Pixar separate, so not much has changed at all. It's a new experience to be part of such a large family, but the free passes to Disneyland are great! ;)
8 - People from animation world are saying that Pixar is developing a movie in 2D animation. What is the expectation about this project? What did you think could change in Pixar/Disney and in the market after this movie?
Pixar has no plans for a 2D feature. But Disney Animation is working hard to revive the genre they created. I think the market is responsive to good stories. We've seen computer films, clay films, and 2D films all do well if the stories are great. We're all very supportive of the talent at Disney, and see some great, great stuff
coming down the pipe.
9 - Today, many Japanese animated series are shown in the Occident, and are getting more popular. Many western animation film companies have been producing animated series pretty much influenced by the Japanese aesthetics and other particularities. How do you see this growing of Japanese influence in the animation? Do you think Pixar is bringing elements from the Japanese features to their productions?
That's a really good question. Japanese filmmakers, like Miazaki of Studio Ghiblii, are an inspiration to everyone at Pixar. The pacing, camerawork, and design of his features have influenced many of our works. Animation can easily become cannibalistic, where everything looks similar. A different culture, a different take on the world, can take us all out of that. I'm looking forward to Brazil's contribution. It's good for all of us!
10 - Most Brazilian animators are self learners. For these animators, what do you consider most important in the learning process? What activities should an animator do to improve and become a good animator?
For me, great character animation involves three studies: Acting, Movement, and Art. All require a bit of study. It's important to observe the world around us. Everyone is different. We move differently. The way your reader is holding this magazine is
wonderfully specific to them. Noticing these specific traits, and using them for a ch
aracter, makes the character feel real.
11 - Animamundi is the true animation thermometer in Brazil, nowadays. Every year, there are more and more Brazilian animated productions subscribed. Do you know any Brazilian animated production, or any Brazilian artist? What do you think about what's been produced here?
We have several brilliant Brazilian artists at Pixar, most notably animator Nancy Kato. I was unfamiliar with Brazilian works until she introduced me to Anima Mundi. The commercial work on the internet is incredible! I'm excited to see more fresh work at Anima Mundi.
12 - And at last, what a lot of Brazilian animators are dying to know: What are the 3 most important things that a international animator have to do to have a chance to get into Pixar?
I'll give you 4:
1. Study! Look up the Principles of Animatin online. Frame through live action and dance. Notice how many frames it takes to do something. You'll eventually see those movement principles in real life.
2. Practice! You must become proficient at those principles. Walks, runs, jumps, and physical animation tests show you have a grasp at moving something around believably.
3. Act! Once you can move things well, it's time to add character. This is the great challenge! What's on your character's mind? What's the emotion? What is the attitude? Draw your ideas, or act them out on camera in private. We are the visible actors in these movies. Pixar likes to see pantomime acting and dialogue tests, since that is our work in the films.
4. Come to Anima Mundi!
Nesse mês, a nossa amiga Martine Chartrand está vindo pro Brasil para uma oficina em Salvador no Animaí, I encontro Baiano de Animação. Aos leitores atentos, ela também estará no Anima mundi em SP no dia 14, bem rapidinho, para uma palestra, e durante alguns dias, no Rio, no CTAv. A vinda da Martine é mais uma ótima iniciativa do CTAv, que está fazendo um bom trabalho de revitalização do cebtro e de fomento da arte animada, em parceria com algumas outras instituições.
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