Let’s Fix the Animation Scene Part 2: The Foreign/Indie Animation Scene

(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this editorial/list!)

Here we are! This is part 2 of my massive editorial on what I would do or advise to fix the animation scene! If you haven’t seen Part 1, where I tackle the Hollywood theatrical scene, you should read that first. This time, we will be talking about my thoughts on how to improve the foreign/indie scene. For me, this section of animation is a lot different than the big Hollywood scene. It has multiple pros that it does better, but it also has its own cons that are exclusive to this side of animation. Now then, let’s get started!

Word of Mouth/Grassroots Campaigning Isn’t Good Enough!

Listen, I love the foreign features that get brought over by companies like GKids, Shout! Factory, and Good Deeds Entertainment. We do need to show moviegoers that there is a healthy amount of animated features outside of the big budget releases like The Breadwinner, Loving Vincent, Wolf Children, and Paprika. I’m glad that they can put some ads out into the net, and use word-of-mouth to get a lot of acclaim and fans that current Hollywood wouldn’t really do. However, that simply isn’t enough. I can’t really find the information about this, because it seems like the industry wants to keep hush hush on how much certain aspects, like distribution costs, but you need to start making deals with bigger companies to get your films out there in all areas of the US. Simply hitting the biggest cities is not good enough anymore. I get that certain companies like GKids have made deals with theaters like Regal Cinemas, but being at one theater chain isn’t enough. Some people live in towns or cities where they get skipped over in the distribution game. Being with massive companies like Disney and Universal could mean that you receive that extra help in getting into more than just one kind of theater. It also doesn’t help when theater chains only allow one or two-night screenings of films. I know Fathom Events probably helps with some kind of cost, but it’s a pain to have to take Lyft rides to certain theaters and having it cost up to $20 just for the ride alone to see these movies. Word of mouth is helpful, but when you don’t have a big enough marketing campaign or a good enough distribution plan, then word of mouth can only do so much.

If You Can’t Make Visually Appealing CGI, Then Either Use a Creative Art Style, or Don’t Bother

Listen, I get that CGI animation is what’s “big”, and it’s probably cheaper than going the route of super traditional 2D animation, but if you don’t have the budget, the talent, or the know-how to not make CGI look good on whatever budget you have, then don’t bother with it. It’s not like 2D is dead and can’t be done using tablets or computers. You just can’t simply go the direction of cel by cel animation. Simply doing CGI because you can, doesn’t mean you should. Do you know how many lackluster-looking CGI animated features I see Lionsgate or Direct TV pick up? There are films that have fairly impressive CGI from overseas, but then never think through on the designs of the characters when translating them from 2D to CGI. Bilal: A New Breed of Hero is a good example of this issue, where the CGI itself is rather good-looking, but then a character here or there will appear and it looks off-putting, due to the super realistic look of everything. Plus, you can make 2D flash work well. It’s not flash’s fault if your film looks like something like a cheap online flash animation. Ice Dragon: Legend of the Blue Daisies is a good example of how to make bad flash animation for theatrical release. Even if it did get a Fathom release here in the states, it looks ugly with no real talent put into making a visually interesting movie. Just know what you are getting into.

Just because you have more freedom, doesn’t mean you should go all out!

While not having as big of budgets as Hollywood animation can be a hurdle, it usually means you have more freedom to make what you want. There is a reason why execs are going to make sure that the $75 million they invested into a project is not going to go into some super artsy film that won’t hit a massive audience. However, because you have more freedom, it doesn’t mean you should be using it to do everything you have ever wanted to do in one project. A lot of passion projects end up being cluttered, messy, and unfocused. It’s like when adult comedy show creators think that just because they are on Netflix, they can go full tilt on the shock humor, but end up making a bad show that has nothing, but unfunny shock humor. You still need to make a film, and that means staying focused. Eyes on the prize! Make a good flowing film first, and then worry about everything else.

Distributors: Just Because You Can Bring it Over, Doesn’t Mean You Should!

So, you know how GKids picks and usually chooses the best animated features to bring over? The ones that keep getting award nominations are usually acclaimed for good writing, beautiful animation, and endearing characters? Now, compare the films that, say, Lionsgate and Direct TV pick up. I’m sure you can look at the difference between the quality and the control certain companies use, because they don’t pick it up for the sake that it’s just animation. Kids might like animated things, but due to the limit of time and the quality of animated films and shows, they are going to stick to the films that resonate with them. I get that some may have higher price tags than others, but it doesn’t mean you need to only buy the lesser products. Sometimes, you don’t need to bring over everything.

Work on Your Humor!

So, this isn’t a big deal, because most directors make films with universally acceptable comedy, but man, some countries need to get it through their skulls that what might be funny to them, will not be funny for other audiences. Japan and China seem to think sex jokes and fart gags are funny, but they really aren’t. They are distracting, and do take you out of the film. I can even understand why some films like Cinderella the Cat haven’t been fully brought over, because it has some unfortunately homophobic moments that it passes off as comedy. The rest of comedy issues come from cheap and lazy comedy writing that they think kids will like. People don’t like these kinds of jokes anymore. Just because you are aiming your films at a family audience, doesn’t mean you have to aim low for the kids watching the film.

That’s it for Part 2! Next time, we shall talk about the Award scene situation!

The Other Side of Animation 106: Loving Vincent Review

(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

While CGI animation is and was a groundbreaking discovery in the world of animation, it has lost its luster. I mean, these days, you expect an animated film made with CGI to be exceptional or at the very least, theatrical quality. The same goes for when 2D animation was in theaters. It’s an even bigger deal these days when an animated film hits theaters, and it’s not even close to being theatrical quality. Sometimes, you get a CGI-animated film that elevates itself or does something super creative, but for the most part, CGI animated films are nothing super special. This is why today’s review of Loving Vincent is so impressive to me. Originally launched as a crowdfunding project, Loving Vincent, directed by Dorota Kobeila and Hugh Welchman, is being heralded as the first fully-painted animated film. After many years, and over a hundred different animators working their blood, sweat, passion, and tears into the film, it got a festival release during 2017, winning one of the major awards at the Annecy Film Festival, alongside Lu Over the Wall and In This Corner of the World, and had a more wide-release into theaters in September of this year. So, what do I think about this movie? Well, let’s pick up your paint brushes and find out.

The story takes place a year after the death of artist Vincent Van Gogh. The story revolves around Armand Roulin, played by Douglas Booth. He is sent by his father, Postman Roulin, played by Chris O’Dowd, to deliver a letter to Vincent’s brother, Theo. While delivering the letter, Armand decides to take it in his own hands to find out what exactly happened for Vincent to kill himself.

So, what is great about this movie? Well, I think it would be tough to talk about this film and not start with the animation. It’s easily the best thing about this movie. While technically, they use more than paint to make this film work, it’s still really impressive and mind-boggling that they got this to work. While it could be considered partly rotoscoped in terms of animation, it’s probably the best-looking animated film of the year. Everything looks so breathtaking in this painted style, and you can’t really believe that they made this insane plan work. Every frame is beautifully rendered in the art style used by the painter.  Sure, they had to cheat a little with some of his iconic paintings, but they still pay huge respect to the artist and his work. It technically uses two different painting styles. You have the usual style that Vincent used in his work, and for flashbacks, it goes into this more “realistic” black and white painting look. Both styles mesh well, giving you this other-worldly experience that is jaw-dropping to see in motion on screen. That’s saying something in a year where The Big Bad Fox and Other Tales, Mary and the Witch’s Flower, and The Breadwinner exist in terms of beautiful animation.

Now, in terms of the story, this is where I have seen people split on this part of the overall experience. I have seen criticisms thrown at the film that it was more style over substance. The plot meanders around, and the mystery goes nowhere. Well, personally, I disagree. As Armand goes around the town where Vincent stayed, he tries to find out what may have driven the painter mad. Some people have complained that you are not given an answer to the mystery, even though you technically are given a couple of reasons. People didn’t treat him well; they laughed, mocked, and loathed his talents. No one treated him with respect. Even the people that supported him had underlying motives. Another complaint I hear is that there is no true ending to the mystery. There is no pure answer to the overall story. Well, you know what? Life doesn’t always give you answers, for as much as we would love to be able to explain everything that happens. Things aren’t always neatly tied up. It won’t matter how smart you are, or how much you know, sometimes, there is nothing conclusive. It’s bittersweet, since this painter worked for eight years, only sold two paintings, and only got famous after he killed himself. Sometimes, the world doesn’t want you to know why it does things. With that in mind, it was interesting and fun to watch Armand try to solve the situation, while talking to the various  individuals who all had different opinions on Vincent. Vincent was brilliant, he was mad, they felt sorry for him, they laughed at him, and you get the idea. I was kept invested till the very touching end of the movie.

I also liked the actors in the movie. I thought the cast, including Robert Gulaczyk, Douglas Booth, Jerome Flynn, Saoirse Ronan, Helen McCrory, Chris O’Dowd, John Sessions, Eleanor Tomlinson, and Aidan Turner all put in very believable performances.  Combined with the amazing animation, you felt every emotion and facial movement they gave on-screen. I know a lot of it was on a stage, but that’s even more commendable. The music by Clint Mansell was also very fitting, giving calming numbers, intensive music during transitions and more serious moments, and touching moments when needed. Then again, when you are the composer behind Requiem for a Dream, the San Junipero episode of Black Mirror, The Wrestler, Black Swan, and Noah, you should expect some phenomenal music.

If I had to complain about something, it’s the fact that some characters only appear once, and are not really seen again. They don’t offer much to the overall story and mystery, and I wish there was more to them than just certain one-off sequences.

Loving Vincent is a loving tribute to one of the world’s greatest artistic minds, and simply a wonderful movie. It’s easily my new favorite animated film of the year so far, and it’s a triumph in filmmaking and animation. I understand some people won’t agree, but you know what? In the end, my opinion is all that matters to me, and Loving Vincent is one of my favorite movies of 2017, one of my favorite animated movies of the decade, and quite possibly one of my favorite movies period. I can’t wait to buy this movie on Blu-Ray and watch it again. I don’t really get that with a lot of movies, and I’m happy this was not simply a case of style over substance. If you can watch it, go see it. We need more films this ambitious and creative. Sadly, it’s time to go back to an animated film that tries harder, but still doesn’t hit the landing. Next time, we review The Nut Job 2: Nutty by Nature. Thanks for reading! I hope you enjoyed the review, and I will see you all next time.

Rating: Criterion/Essentials