The animation vet expounds on the animation biz and his movie.
Blu hang gliding around the statue [Christ the Redeemer] is a sequence that was in my head from the get-go. Also, when I was a kid, I was always interested in nature and birds. I was very aware of issues in Brazil like bird smuggling and endangered species, and I wanted that to be a crucial part of the movie. ...
I think there’s an overall commitment [in animation] to try to make good projects, and that studios do try to set up their slates so that everybody can get their run for their movies. Some years that seems impossible, there are so many things happening, but in general there’s room for everybody. We root for other projects. It’s good that we keep the animation niche strong ...
My wants are simple. I want animation to succeed on every level: television, theatrical, smart phones. I want every animator working at a decent wage and not getting stiffed by grifters who see the opportunity to make a quick buck. (Montreal, are you listening?)
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Rio scored 55 million dollars in the international market this weekend.
HUGE NUMBERS FOR BLUE SKY AND FOX!!!
Carlos was a great director to work for. Always upbeat and supportive, seemingly tireless, and willing to consider everyone's ideas without losing sight of his own vision. I'd love to be on his crew again.
Generally speaking, Blue Sky burns through talent like no other. Many, many stories abound concerning their low pay, demanding schedules, and general mistreatment of talent (except for their "core" team). They have in fact developed a model for creating their animated features which will necessarily demand this type of treatment of talent - they don't fully flesh out story, storyboard, or layout, rather, "winging it" as the film moves through the pipeline. we all know what this means for artists.
So, it's nice to hear lofty, conceptual concepts from people like Carlos post-mortem . . . they make for really good soundbites. But the day-to-day is oh-so-different . . . but I guess it's the same for all the major studios. They've got great distribution and marketing, big production dollars, so no matter how screwed up their internal process, they can always shrug their shoulders afterwards, or even institutionalize their inept production practices, citing the "success" of the end product. Ugh. Rough world for us production artists.
"We MEANT to do that!" never sounded so humane nor polished.
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