Animation Inspiration

Color

Off the Air (2015)

Stare deep into the abyss of television’s subconscious.

Created by Dave Hughes

“LSD GIRL” footage provided by T3Media

“HEAD ON” animated short by Lior Ben Horin

“HEAD ON” sound design and music by Nadav Ravid

“This Girl Can Handle A Shotgun” short film by youtube.com/Brandon401401

“Grindin” song by Nobody Beats The Drum Snowstar Records

“Grindin” music video by Rogier van der Zwaag

“The Biggest Domino Circle 11000 Dominoes! Youtube Record!” short film by TheRealMcJoni & TheDominoator

“Dahlia” short film by Michael Langan stock footage supplied by iStock

“The Doldrums” song by Paul White One Handed Music

“The Doldrums” music video by Plastic Horse

“Dinosaurs” song by 16bit MTA Records

“Dinosaurs” music video by Kristofer Ström

“Paint” supplied by Sony Bravia and Fallon London

“La Gassa Landra” song performed by Czech Philharmonic Orchestra conducted by Senja Karel and Supraphon

“Datamosh” music and video by Yung Jake

“Perpetuum Mobile” original composition by Penguin Cafe Orchestra

“Bars and Tone” animated short by André Chocron

“Serve The People” song by Handsome Furs Sub-Pop

“Optimist” short film by Brian Thomson

Produced by Million Monkeys Inc.

Elbow Pain

Glue Trip (2014)

Chimera is the music video of the song “Elbow Pain” by brazillian pop duo Glue Trip, created, edited and directed by designer and illustrator Daniel Vincent. The whole aesthetic concept was created by Daniel Vincent and is based on transcendent experiences surrounding our mind, it explains a bit here:

“I can say that is a now collective, cognitive. An interdimensional travel experience within all that we are.

How to see and live a life? How have the answer that none of the gods can have? We often do not know what it can really be.”

Dcera

Daria Kashcheeva (2019)

Simple embraces bookend years of pain in the relationship between a man and his daughter. Glances and gestures speak volumes in this silent stop-motion drama from Kashcheeva, who made the film at Prague’s famed FAMU school.

Kashcheeva: I wrote this story four years ago for my entrance exams to FAMU. At that time, I was really interested in psychology — I was thinking a lot about how childhood influences our behaviour. I wrote it really fast, in a few days, because when I started to think about my childhood, I remembered some moments which had maybe been in my subconscious.

When I passed the exams, I left this story, because the first two years of study were really intensive. At the end of the second year, I started to think what my bachelor’s film would be about, and I remembered this story. I developed it into a script. I worked on it for a year and a half; it was a kind of psychotherapy for me.

I didn’t know how it was going to end at first, but during animation, as I was thinking about my relationship with my parents, I understood that it’s important to forgive. Forgiveness can change our past, our memories. That’s why there’s this hug at the end. I realized that I didn’t want the father to die.

Jiří Kubíček and Anna Vášová, well-known writers in the Czech Republic, teach screenwriting at FAMU. At the beginning I asked them for advice. We also consulted with teachers in the editing department — my husband is the editor on the film. They made suggestions, but always ensuring that my ideas came through. The film starts in the hospital, then you see the daughter’s memories, then the ending is in the hospital again. Anna gave some really good advice: to return to the hospital in the middle of the film, too.

We discussed language from the start, as it’s a Czech film and I feel annoyed when I need to read subtitles — in animation, there’s a lot to look at. An extra reason was that I wanted the puppets to be papier mâché, and I really didn’t know how to make them [speak]. Also, I was thinking how misunderstandings in relationships happen because people couldn’t talk to each other. For the dramaturgy, it was good that the characters couldn’t talk.

I love documentaries and this “imperfect” aesthetic in live action — like Dogme films, Lars von Trier, the Dardenne Brothers. I thought this aesthetic could work very well for my story. I didn’t know how to create it in animation, so I studied von Trier’s Breaking the Waves frame by frame, then made tests. We made a teaser and got really good feedback from professionals. I realized I’d found a good aesthetic for the story, to make the viewer feel it more, get them deeper into it.

I didn’t discuss the film with my relatives [while making it]. With my parents, we don’t discuss emotions and so on. I thought I might hurt them if I asked questions about our relationship. I decided that my work on the film was going to be my own thinking about all my feelings. When I showed my parents the film, they still didn’t talk about our relationship, but they told me they thought the film, and its ending, were really great. I think something really changed in our relationship. We talked through the film.

Red Hot Riding Hood

Tex Avery (1943)

Red Hot Riding Hood is an animated cartoon short subject, directed by Tex Avery and released with the movie Dr. Gillespie’s Criminal Case on May 8, 1943 by Metro-Goldwyn-Mayer. In 1994, it was voted #7 of The 50 Greatest Cartoons of all time by members of the animation field, making it the highest ranked MGM cartoon on the list. It is one of Avery’s most popular cartoons, inspiring several of his own “sequel” shorts as well as influencing other cartoons and feature films for years afterward.

Another Froggy Evening

Chuck Jones (1955)

One Froggy Evening is a 1955 American Technicolor animated musical short film written by Michael Maltese and directed by Chuck Jones, with musical direction by Milt Franklyn. The short, partly inspired by a 1944 Cary Grant film entitled Once Upon a Time involving a dancing caterpillar in a small box, marks the debut of Michigan J. Frog. This popular short contained a wide variety of musical entertainment, with songs ranging from “Hello! Ma Baby” and “I’m Just Wild About Harry”, two Tin Pan Alley classics, to “Largo al Factotum”, Figaro’s aria from the opera Il Barbiere di Siviglia. The short was released on December 31 (New Year’s Eve), 1955 as part of Warner Bros.’ Merrie Melodies series of cartoons.

Filmmaker Steven Spielberg, in the PBS Chuck Jones biographical documentary Extremes & Inbetweens: A Life in Animation, called One Froggy Evening “the Citizen Kane of animated shorts”. In 1994, it was voted No.  5 of the 50 Greatest Cartoons of all time by members of the animation field. In 2003, the United States Library of Congress deemed the film “culturally, historically, or aesthetically significant”, and selected it for preservation in the National Film Registry.