We spoke to 15 animators, directors, producers, production designers, storyboard artists, lighting artists, and supervisors about their hardest gigs in animation yet TheRaceToAnimate
Photo-Illustration: Vulture, Universal Pictures, Netflix and Twentieth Century Fox Animation has always been more effective than most art forms at convincing viewers of its own magic. Early experimental works passed off thousands of hand-drawn stills as party tricks. Fleishman Studios’ Out of the Inkwell cartoons in the 1910s and ’20s solidified the image of the cartoon miraculously coming to life on the drawing board.
To make such an abstract idea work, I embraced the idea completely, deciding that there would have to be a radically different approach to the way I had been making 3-D animated films. Until then, I had generally approached 3-D films as an interpretation of two-dimensional artwork that my team and I had created by hand.
Working with Danny and his team, we discovered so many techniques while experimenting on other things. By letting myself be open to developing the look of the film in the computer, the entire process of making the film was incredibly rewarding and fun for me. I was given permission by the filmmakers to try new things and experiment daily in ways none of us had done before.
Bo Peep evolved from being a porcelain figurine who was attached to a baby lamp, who had no role in the first movie. [Her] combined footage from the first three movies was about six minutes. But you could tell she was a pivotal character to Woody. We found embracing that, we needed to change her and make her the driving force of changing him.
In general, realistic dancing is always a challenge for me. A lot of people might look at the wacky dances I animated throughout the Tuca & Bertie series, such as the opening credits, and assume I love animating dances — but while goofy abstract cartoon movement comes pretty easily to me, I actually find it really difficult to animate more realistic dances based on how bodies actually move. I always need to look at reference.
The first thing we did was actually we went directly to the director and said, can we simplify it somehow? We realized that the shot is asking for three things. The beautiful island, the reveal of the plane, and Archer and Pam looking at it. We were able to simplify it a little bit, instead of pulling it through the street backwards, we can start on the sun and the ocean, and in the middle you see the street that’s all torn up.
Kid Notorious , more waves Mike Hollingsworth, supervising director for BoJack Horseman: The most difficult and most overwhelmed I’ve ever felt as an animator specifically — I wear many different hats, and do many different things — but I remember one of my first jobs was as an animator on this ill-conceived show for Comedy Central called Kid Notorious.
Rick and Morty , Rick’s depression Caroline Foley, animator: One of the most difficult shots I had to animate for Rick and Morty was the final shot for season two, episode three, “Auto Erotic Assimilation.” It was actually a revision, which means I was animating over someone else’s work, but the shot didn’t have the emotional impact that it needed, so most of the original acting and timing was scrapped.
She also has an iridescent pattern to her. If you look at Toothless you’ll see almost a leopard pattern if the light is hitting his scales. She has the same thing but it was iridescent. How much do we reveal that and how much do we hide that? I went on it for months just trying to get the balance right. She also has a light-blue belly on her underside so we’d have to balance that color and make it not look too dirty or gray.
Dogstar , the “Wilhelm Steam” Adam Parton, animation director on Tuca & Bertie: I remember a few key things throughout my career that seemed really difficult at the time. The first one of those was when I first started in animation. At that point, everything was the most difficult thing. I was working as an in-betweener in the in-house training program at the Disney TV studios in Sydney, Australia. I guess I was working on the Aladdin TV series.
Our Cartoon President , the Democratic Debate Tim Luecke, co-creator and co-executive producer: The goal of Our Cartoon President is to be as topical as possible because of the administration we’re satirizing. We’ve made leaps and strides over the seasons about getting faster. Each week in the cold open we try to address as up-to-the-minute news as possible, like an SNL cold open. The first couple of seasons we did Trump delivering a speech at CPAC as he was giving his actual speech.
One of the other things we pride ourselves on is to be smart about how we prepare for topicality. We had enough evergreen material that we could get a head start. But there was always so much of a chance that there would be topical stuff that we would have to lose what we pre-animated. Luecke: We have a unique process where it’s traditional hand-drawn and cutting-edge digital animation. All of the gestures that the characters do while talking, those are all animated frame by frame, by hand, on a computer. Every lip shape is drawn for that character, every eyebrow shape is specific.
Because you’re running so fast through this canyon, if you just left the light as is, there is no way it will be pleasant from shot to shot. How do you move the lights around but make it look like there’s continuity? You always have to make sure that if the characters are moving from left to right, the sun has to be on the same side, but it has to look good and shape the characters like you want. Part of it was analyzing the geometry of the canyon itself and how do we break it up.
Now I’ve spoken to him plenty of times, I’ve been directing for the last three seasons, and he called me in because he wanted to talk about this other bit of nuance, some acting that he wanted from one of the characters. He told me what he wanted, and I went and did it, not stressed at all. I remember reading the script; it said, “So-and-so character has this look on his face,” and it was 17 different words describing a look on that person’s face.
Crystal Stormer, animator : One of the hardest projects I worked on was a silent episode of BoJack Horseman, where no one speaks. It was such a particular challenge. It was so great for the animators to be featured in that way.
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