I was not aware of Svirsky until today - awesome writeup, and it's interesting how his comments on the traditional pipeline parallel those of Felix Colgrave. I need to try animating in this stream of consciousness approach, see what happens.
And ooh ooh I was at that Kensuke's Kingdom premiere in Annecy! I still remember the incredibly striking 'Sakura, Sakura' sequence about the atomic bombing of Nagasaki, with the lone voice building to a full choir over an abstractrd painterly depiction of the war and bombing. The strongest moment in the film I think, in large part due to the music - you could argue it's a too-obvious pick, but it's haunting in the delivery and the film is honestly a big part of the reason that Sakura, Sakura was one of the first pieces I learned to sing and play on erhu.
So, very cool to see a writeup of the film's music! The connection between music and animation is so rich, going back to the earliest days of the medium (Fleischer rotoscoping Cab Calloway's dances, Disney's infamous 'Mickey Mousing') and I def think it deserves as much discussion and investigation as any other part of the picture.
Svirsky is so, so good. One of our favorite animators working right now -- and Dull Spots of Greenish Color is one of the best films we've seen this year. Happy we could to introduce you to his stuff and his process!
As for Kensuke's Kingdom -- the Nagasaki sequence is one that Stuart mentioned as a standout himself. The directors hadn't found any temp tracks to guide that section and he came up with the idea of using Sakura, Sakura, which transformed into the final version he arranged. It seemed to be one of his favorite moments in the film as well, behind only the ending. Just talking to him, it was clear that he was really passionate about this project, which made the interview a joy to do. We really don't cover music enough in the newsletter and have tried to remedy that a bit this year, but there's still a long way to go.
For sure -- and this can be a real trap for indie animators, who feel the pressure to do things the "right" way and just end up getting demoralized. Obviously, not everyone has the ability to invent as freely as Svirsky does, but it's important to keep your options open and find what works.
I am the author of a new animation book TWENTY EARS ON THE ANIMATION TRAIL with front and back covers by the brilliant Joanna Quinn. It will be published on 20 December. If you are interested in a review copy please contact me at: nik@niksprocket.org and I will send you the review request form along with a photo of the covers. Warm Regards, Nancy Denney-Phelps
I was not aware of Svirsky until today - awesome writeup, and it's interesting how his comments on the traditional pipeline parallel those of Felix Colgrave. I need to try animating in this stream of consciousness approach, see what happens.
And ooh ooh I was at that Kensuke's Kingdom premiere in Annecy! I still remember the incredibly striking 'Sakura, Sakura' sequence about the atomic bombing of Nagasaki, with the lone voice building to a full choir over an abstractrd painterly depiction of the war and bombing. The strongest moment in the film I think, in large part due to the music - you could argue it's a too-obvious pick, but it's haunting in the delivery and the film is honestly a big part of the reason that Sakura, Sakura was one of the first pieces I learned to sing and play on erhu.
So, very cool to see a writeup of the film's music! The connection between music and animation is so rich, going back to the earliest days of the medium (Fleischer rotoscoping Cab Calloway's dances, Disney's infamous 'Mickey Mousing') and I def think it deserves as much discussion and investigation as any other part of the picture.
Svirsky is so, so good. One of our favorite animators working right now -- and Dull Spots of Greenish Color is one of the best films we've seen this year. Happy we could to introduce you to his stuff and his process!
As for Kensuke's Kingdom -- the Nagasaki sequence is one that Stuart mentioned as a standout himself. The directors hadn't found any temp tracks to guide that section and he came up with the idea of using Sakura, Sakura, which transformed into the final version he arranged. It seemed to be one of his favorite moments in the film as well, behind only the ending. Just talking to him, it was clear that he was really passionate about this project, which made the interview a joy to do. We really don't cover music enough in the newsletter and have tried to remedy that a bit this year, but there's still a long way to go.
“You become an employee of your own film..”…totally !…:)
This was a really incredible observation on sticking with the process that best works for yourself!
For sure -- and this can be a real trap for indie animators, who feel the pressure to do things the "right" way and just end up getting demoralized. Obviously, not everyone has the ability to invent as freely as Svirsky does, but it's important to keep your options open and find what works.
Thank you very sincerely for bringing Svirsky to my attention (and to the attention of any other reader who was not familiar with this artist's work).
More than happy to, Kyle -- it's great to know his stuff resonated with you! Thanks very much for the comment.
Thanks so much, I'd not heard of Svirsky till now. I love his work!
This is fantastic to hear! Happy to share it.
I am the author of a new animation book TWENTY EARS ON THE ANIMATION TRAIL with front and back covers by the brilliant Joanna Quinn. It will be published on 20 December. If you are interested in a review copy please contact me at: nik@niksprocket.org and I will send you the review request form along with a photo of the covers. Warm Regards, Nancy Denney-Phelps