Episode 100 'Animation in Portugal'

It has been quite a long time since I have posted a blog entry; even longer for an exclusively animation based post. But this year has subjected me to a whole new level of animation from around the world and I couldn't possibly let it slip by without writing down a few. I would very much like to continue my story of how I ended up at a particular studio here in Lisbon, but perhaps I could ramble upon this tale another time. For now, I would like to look through some of these wonderful and interesting animations and creative ventures that have caught my eye over the past year. 

The studio I am currently working at is called Sardinha em Lata (this has now totally ruined the big reveal in my next chapter of the 'road trip' BUT DO NOT WORRY READER... there are surprises galore in my adventures). The studio is home to a whole bunch of talented and creative folk, of whom I am very lucky to be working alongside. The current project that I am working on has combined the in-house Sardinha team along with Spanish, Italian and Brazilian animators to create something truly special. You can read about this project 'My Grandfather's Demons' a little later on.

And now for the real meat. And I say that with full intention as our first video 'Contra-File' focuses around a butcher shop. The creator of this animated film, Pedro Iua, is one of the Brazilian animators who has joined the 'Demons' production and spent the past 14 years working on Contra-File. He is responsible for pretty much the entire production, which might suggest the passage of time. But boy was it worth it. The tag line contains scenes of violence, despite being just silicone dolls... gives you an idea of what might be in store.  

After remembering that my tendencies to feel faint at the sight of a drop of blood is still quite an issue with me, I took a glass of water and breathed slowly. Then I continued watching the short film. And I am so glad that I did. It was described by Deborah Gil Costa (Art Director) as the rock and roll of animation, and I couldn't think of a phrase to better it. The purposefully shonky style of the set, mirrored by the sharp camera angles and extreme character design all blend together to create a very hardcore work of art. 

Pedro is now rock and rollin' his animation on the 'Demons' production and it is always a pleasure to watch each of his shots come to life. Fun fact - the conversation between the butchers in Contra-File was completely improvised amongst themselves. Pedro simply sat back and recorded what they had to say. 

My second chosen piece is also from a Brazilian animator, but who has spent the last several years living in Portugal and working at Sardinha em Lata in the 2D department. Guy Charnaux is this animator. He is also THE loveliest chap in the neighbourhood. His short animated film 'A Man Called Man' was my introduction to his work and I immediately CLICKED LIKE, SUBSCRIBE AND SAVED IT IN MY FAVOURITES AAAAHHHHHHHHH....

Quite a ride hey? With many valuable lessons and morals splattered around with a very quick-witted and masterful sense of humour. You can check out more of his work here 

Full disclosure; I did not take this photograph. I digitally stole it. 

When you think of Lisbon, what comes to mind? The meandering cobbled streets filled with charming yellow trams? A delicious plate of sardines with a crisp glass of rose or perhaps the Praca do Comercio, where the beautifully carved arch invites all to enter the city. When I think of Lisbon I think of the Museu da Marioneta [The Puppet Museum] which, luckily for me, is now a mere seven minute walk away. I was introduced to this wonderfully quaint and almost out of place museum when the production of The Peculiar Crime of Oddball Mr. Jay [a film by Bruno Caetano] was showcased as part of the Lisbon based Monstra Animation festival 2021. 

I was absolutely mortified, however, that I could not attend the festival itself. I did manage to wangle a place on the list for the opening night of Mr. Jay (I wore a shirt). This took place at the Museum, displaying some of the truly stunning sets, props and puppets. Bruno himself was at the evening and very kindly gave a few of us a generous tour of the exhibition and detailed all that went into the production. 

The scale of Mr. Jay was literally based on the size of the studio surroundings. This blows my mind; but I can entirely relate to such a common denominator within the stop motion industry. You are as big as what you put in. This isn't computer generated worlds that stretch as far as the eye can see but an actual physical, tangible place with real problems that affect the creators as well as the characters themselves. I think this is the first biblical reference I have ever made in my blog, because I am genuinely comparing stop motion animation to GOD and the characters [puppets] as everybody's favourite creation Adam and Eve. Or perhaps I am just thinking about Aardman's short film 'Adam'. In fact, yes, I am totally thinking of that.

Another interaction that I have been rather fond of via the wonderful folk of Sardinha em Lata has been the discovery of light painting. This art form has been somewhat of an anomaly to me, where I have perhaps seen images and videos portraying the talent of others and yet never taken the time to fully understand it. Enter my third Brazilian animator of the evening, Daniel Rabanéa. This man has no limitation when it comes to simply create. And what an inspiring voice from the arts that can be - to not consider the do's or do not's but more of the try. Unfortunately this is a concept that I have to grapple with to accept, because Master Yoda has always taught me to "do or do not. There is no try"

But Master Yoda has since passed away and I can make my own judgement upon the situation. And I deem that this boy from the jungle planet system Bra-zil (I apologise for the lack of originality there) could be the chosen one. His passion for impulsive behaviour, in regards to the world of art, will really get me out of this creative rut that I find myself in from time to time. I followed the advice of Danny Wallace and said 'yes'. Before long, I was standing down a dark dark road, in a dark dark field but with a light light purpose. The idea is simple; know how to change your camera settings (aperture, shutter speed ect) and give yourself a big canvas to work with. Find an assortment of light sources (we used fairy lights, torches and my trusted lightsaber) and get creative. 

It was truly blowing my mind, watching each piece reveal itself on the small digital screen of the camera after loosely mapping out something with the light source. Daniel, myself and our lovely third member of the gang, Silvia, took turns interpreting the light and quickly understanding what was and what was not possible. It's good to be experimental. I guess there's always that one stupid mistake that changes everything. 

Daniel shared a video with me that left me questioning what on earth do I know about animation?! I felt almost embarrassed that there were still some incredible techniques and processes out there (albeit from the past) that I simply hadn't a clue about. Strata cut animation is one of these techniques that completely flew over my head during my time at University. This is not, by any means, a criticism of my degree. I cannot praise the course enough with what the tutors taught me, which was essentially my introduction into the animation world.

David Daniels is the strata cut artist behind the video below. I don't think my bumbling words could ever do his hard work justice, so please watch the clip. I still cannot fathom that this is a genuine process in animation (of which he pioneered by the sounds of it) because the concept is bloody bonkers! But the results are really psychedelic and awesome.  

Well. I am going to leave you with a little taste of what I'm working on...

'My Grandfather's Demons' [Demônios do meu Avô] is the production that I am currently involved with, and I could not be luckier to have this opportunity. The word 'jammy' could be thrown in there, but perhaps (coming from a galaxy far far away) it was my destiny to always jump back into the world of animation. I promise I will tell you more about how I got this role, but now is not the time! 

There is an article from Variety that gives a rather good summary of the film's synopsis and how it all began. There is also a much more detailed article from Zippy Frames that is really worth reading, if not only to peruse the wonderful photographs and videos demonstrating the talent behind the camera (oooo 'demon'strating). Below is the feature film teaser that gives you the vibe of the narrative, style and design. Please enjoy, whilst I take my leave. 

Until next time. Farewell.