ANIMARKT Stop Motion Forum asks what makes producers and directors read

the ANIMARKT Stop Motion Forum (December 7-11) The Polish Film Gathering dedicated to the art of stop-motion animation has recently concluded after the presentation of many different events, including master classes and discussions between professionals in the field. One such discussion was “Creator-Producer Collaboration at Stop Motion.” was running it dark heap, welcomed Jean Francois Le Curie (Monday roll!), Gabor Osfat (FILM FRIQAnd bodah), Michel Zubinski (Astra) and Ben Taiser (monster animation), who joined the online event.

The first question relates to the needs and requirements of producers when dealing with directors, and vice versa. All the experts agreed that the most important element to enable the initiation of a collaboration was the quality of the project (including plot, characters, and universe), but the human chemistry between the film maker and their producer was also important. Osvath half-jokingly remarked that because his native Hungary is a small country, as well as the market for stop-motion animation, he was a good friend of most of the people he worked with. Tesseur added that when he works as a producer, he must be confident that his manager will be able to deliver the project at the level of quality he promised at the outset.

All experts agreed with the metaphor Le Corre first used – that the production is like a ship, and the director is the captain who must be able to withstand all storms with the product. Łubiński added that his current project initially resembled a small fleet of ten ships sailing in different directions, and then the team finally agreed on one.

What the expert also put forward is that due to the nature of stop-motion animation, its beauty lies in all its flaws, all the little changes in the dolls, rather than perfection and perfection, which “kills emotions”. The exceptions to the rule are products and advertisements directed at children.

Le Curie also said that he witnessed a generational shift in stop-motion animation production. When he started his career in the mid-90s, he was self-taught, while now, young filmmakers are well trained by schools (which was a rarity a couple of decades ago) and are well prepared for the action. In addition, he cited one of the main challenges in his field: making production more sustainable. This mostly pertains to the more environmentally friendly collections, as well as dolls and everyday items. Tesseur also mentioned that producers should try to create comfortable working conditions for animators, who can spend up to 12 hours a day in small rooms, which can be too cold, too hot or not properly lit.

When participants were asked where they usually look for creative partners, they mentioned industry events and also Instagram accounts.

Overall, the discussion concluded that after so many years of CGI animation dominating roost, Stop-Motion has regained its popularity, yet it deserves to be seen and acknowledged by its makers for much more. Tessur suggested inviting filmmakers to the red carpet, because it is they who breathe life into their dolls.

The ANIMARKT Stop Motion Forum was organized and organized from December 7 to 11 and organized Momakin, a company dedicated to the education and professionalization of the animation film industry. the International Visegrád Fund and the Polish Film Institute Co-financed the pool, while the main partners EC1 Lodge – City civilization and the Lodz Film Committee.