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THIS IS HOW A MASTER DOES IT
I love stop-motion animation, and my friend Barry Purves is a master at it. Take a look at "Next," an award winning animation he wrote and directed for Aardman back in 1989. Shakespeare is at an audition and, with zero dialogue, runs through all the titles of his plays in 5 minutes. Part of the fun is trying to keep up with which play goes with which presentation. Seriously brilliant, passionate work. Barry's books on stop-motion are essential for every new animator. For an extra treat, here is a clip of Barry explaining some aspects of his art at last year's Bradford Animation Festival.
FACES REACTING TO 105MPH BLAST OF WIND
You know how it is. When you need a reference for faces reacting to 105 mile per hour blasts of wind, you just can't find one. Here you go, eight of them.
I had the opportunity to chat with Bill Desowitz at FMX and was impressed all over again with his knowledge of film, animated or otherwise. His blog, Immersed in Movies, is excellent, and I recommend it. Also, Bill has written a new book entitled James Bond Unmasked in which he interviews all six of the actors that have played the character. Good stuff, and a terrific gift for any 007 fans.
Actors and Animators: "Vive la différence!"
The actor is the actor.
The animator’s on-screen character is the actor.
The actor acts “in the present moment."
The animator creates an illusion of a present moment.
The actor never thinks about facial expression of emotion.
The animator always thinks about facial expression of emotion.
The actor wants the person in the audience to empathize with him right now.
The animator wants the person in the audience to empathize with the on-screen character later.
The actor’s instrument is himself.
The animator’s instrument is a pencil. Or a keyboard.
The actor cannot act if she has laryngitis.
The animator can animate if she recently had a leg amputated.
The actor is a self-employed person.
The animator wishes he was a self-employed person.
The actor never rehearses in front of a mirror.
The animator always rehearses in front of a mirror.
The actor plays with a variety of other actors.
The animator plays with himself.
The actor’s first question: “What am I doing?”
The animator’s first question: “What does the character look like?”
The actor’s first thought on a new stage: “Is there anything I might slip on or trip over?”
The animator’s first thought in a new studio: “Where is the kitchen?”
The actor pretends.
The animator pretends to pretend.
The actor receives applause immediately after his performance.
The animator receives applause after he dies.
The actor, being human, is already halfway to a successful performance simply by showing up.
The animator is halfway to success only if Andy Serkis shows up.
The animator gets to stare at pixels on a computer screen all day.