![]() ![]() I met with Neil and his partner, Fraser Munden, to talk about the film, blaxploitation, their experience at TIFF, and David Arquette’s obsession with their puppets. Neil Rathbone: Fraser and I met in video class. We were watching a slow artistic video about old people doing water aerobics in a pool. There were slow moving shots that came close to these wrinkled bodies moving in the water. And I just went “uggh” and Fraser started dying with laughter. He was just crying with laughter and I was like, Who is this fucking kid? I guess he thought this was funny, so we started sitting together in video class.īetween your previous film, Vaseline and Pepper, and The Chaperone, you guys have managed to develop and maintain a consistent and very distinct hand-drawn style. Neil: It’s a hybrid of my drawing style and Fraser’s drawing style. It’s something that we can both do and be consistent, and you wouldn’t necessarily be able to look at it and say, “This person drew this, this person drew that.” In video class we’d pass drawings back and forth and make each other laugh. There are a bunch of different animation styles for the film, but it’s mostly hand-drawn and hand-colored drawings. Neil: You saw when we were living together the amount of time that goes into that shit. I was spending entire days drawing and doing 20 frames, and with ten frames a second, it’s only two seconds. ![]() ![]() We had absolutely no animation experience. Based on Laura Moriarty’s beloved New York Times best-selling novel, MASTERPIECE FILMS’ first theatrical release The Chaperone reunites the writer (Academy Award®-winner Julian Fellowes), director (Michael Engler) and star (Academy Award® nominee Elizabeth McGovern) of Downton Abbey for an immersive and richly emotional period piece. We were like cavemen in a cave inventing a wheel when there are people driving around in Porsches. We could do that, but for some reason we were just doing it on our own. ![]()
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