‘The Peasants’ Directors on How ‘Loving Vincent’ Follow-Up Takes Its Groundbreaking, Hand-Painted Animation Style to Another Level (EXCLUSIVE CLIP)

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‘The Peasants’ Directors on How ‘Loving Vincent’ Follow-Up Takes Its Groundbreaking, Hand-Painted Animation Style to Another Level (EXCLUSIVE CLIP)
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With the long-awaited follow-up to their Oscar-nominated animated feature “Loving Vincent,” directors D.K. Welchman (formerly known as Dorota Kobiela) and Hugh Welchman revisit the striking, hand-p…

, is a work of far greater scope and ambition. “The scale of the film is different,” says Hugh. “Whereas ‘Loving Vincent’ was very much talking heads…this is about a community with some huge set pieces. We have battles, lynchings, big dance numbers, big weddings. It involves many more people, much more dynamic action in a totally different approach to the use of camera than ‘Loving Vincent.’”

To do that, the filmmakers turned to a wide repertoire of realist and pre-Impressionist paintings, drawing from the work of artists from the Young Poland movement, a modernist period roughly spanning the years from 1890-1918. They were equally inspired by the evocative language of the novel itself, which “reads like a painting” in its vivid, descriptive passages, according to Hugh.

Working from studios in Poland, Serbia, Lithuania and Ukraine, the animators tallied more than a quarter of a million man-hours between them, painting under two frames per day — half the output they were able to achieve on “Loving Vincent.” Nearly three-quarters of the painters employed on that film ultimately had to leave “The Peasants” “because they didn’t have the techniques, the skills to reach this level of realism,” says D.K.

Though the stunning, hand-painted animation is what’s likely to wow audiences, D.K. says the live-action shoot was instrumental in bringing the world of “The Peasants” to the screen. Principal photography lasted eight weeks and largely took place on a sound stage utilizing green screens. In order to reduce waste — and costs — partial sets were built using recycled materials. During production, cast had to be continually reminded not to lean against the fragile walls.

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