The Academy-award nominated, BAFTA award winning, and French academy award (Cesar) winning filmmaker and director Sylvain Chomet (director of ‘The Illusionist’ and ‘The Triplets of Belleville’) has just directed a brand new animated music video for “Carmen“, a song off of Rwandan-Belgian rapper Stromae’s album ‘Racine Carrée’.
The video is very clearly done in Chomet’s style, a look achieved by scanning pencil drawings into the computer and then coloring them. With minimal cleanup if any, and watercolor style backgrounds, this creates a more raw look that is both appealing and refreshing to see. The song is loosely based on the 1800′s opera of the same name, and features an animated Stromae struggle with his addiction to Twitter. What begins as a small habit soon turns into a massive weight on his shoulders, an obsession that sinks its claws into every facet of his life, from friendship to love.
The video was released Tuesday, March 31st on Buzzfeed, and has gotten over 5 million views on Buzzfeed and 2 million views on Youtube. It was produced at Th1ng, Chomet was not only the director but served as lead animator as well alongside Neil Boyle. Background layout was done by Marcin Lichowski, while Kirk Hendry served as lead compositor and lighting designer for the short.
Fans of Chomet’s style might also want to check out his Simpson’s Couch gag, which can be viewed on Th1ngs channel on Vimeo.
Industry veteran Will Finn (animator, voice actor, character designer, storyboard artist and director) with nearly 40 years of experience has offered his thoughts and advice to anyone who’s dream it is to work in animation. In his blog post, “Why You Shouldn’t Want A Job In Animation”, Finn spoke about and explained the difference between a ‘job’ and a ‘career’ in animation:
“To me a job is something you depend on from an employer. It’s theirs to give and theirs to take away… A career is something I have to be responsible for based on my reputation, my ability, and my preferences. I don’t expect much beyond what I invoiced for last week, and I keep tabs on whatever’s coming up—staying in touch with long-term contacts and making new ones almost constantly. I try to keep at least one ‘Plan B’ in mind at all times. And that’s fine. A career is like a life: mine to tend, mine to succeed or fail at, mine to take credit and blame for, mine to earn. I would not have it any other way.”
In the post, Finn also speaks about what it was like starting his career at Walt Disney Animation studios. Following his childhood dream only to have that dream ripped apart after “barely nine months” on the job”, while working on ‘The Fox and the Hound”, getting into behind the scenes politics, his run in’s with the higher ups, and producing work that was “substandard even for a newbie”.
This was his first crash and burn with Disney, Finn would later come back to Disney to supervise the characters of Cogsworth in ‘Beauty and the Beast’ and Iago in ‘Aladdin’, he also worked for Warner Bros., Dreamworks, the Don Bluth Studio, Reel FX, IMAGI, Renegade Animation, and others.
In his third leg at Disney in 1999, Finn would come to realize that his original childhood dream of working at Disney until retirement was clouded by the innocent lens of youth.
“Senior Disney artists who I remember envying on that day in 1979 when I got let go were being given their 20th and 25th anniversary pins alongside pink slips terminating their employment. Some of them had never worked outside the studio and the transition must have been difficult. But at that point I knew while I still admired their talent and artistry, I had stopped envying the idea of a long tenure at a single studio long ago. In 2004, I was on the pavement again, looking for work.”
If you would like to read the full post, please do so on Will’s Blog.