The Light Princess horse animation test

here's another thing from my animations for The Light Princess, I'm not sure if this horse is staying or not now, I think i ran out of screen-time for it:

my two (current) favourite red headed ladies: Julie Klausner and Tori Amos

I wrote a little before about a podcast I was enjoying while doing all this animating, The Flophouse.  I didn't want to overwhelm you by talking about ALL my favourite podcasts but there is another one I am keen on and that is How Was Your Week, with Julie Klausner.  Do yourself a big favour and check it out.  I am so envious of her talents, her way with words, her abilities to be snarky and rude and clever  and funny. . . about steam-punk, ukulele players*, Amanda Palmer, among other things . . . but never mean.  And Julie talks so well and with love about so many brilliant good things . . . Stanley Kubrick, David Sedaris, Rickie Lee Jones, Hedwig and the Angry Inch, oh yeah check out her live podcasts as well and hear her singing Wig in a Box, it is so pretty and haunting and I wasn't expecting that . . . sometimes I hear her put my own thoughts into words for me, I have to re-listen to try and remember how to express things better.  She records elegant and smart interviews, I get to learn about new people as well as hear her talk to people I like a lot, like Jon Ronson and Sarah Silverman, she is funny and witty and interested.

So go and listen to her.

I have been listening to Julie Klausner a lot at the moment (here is my segue) as I am very excited to tell you that I have been working in a small hot and dark room for the last couple of months making paper-cut out stop-motion animations for the new Tori Amos musical The Light Princess.  It opens in September at the National Theatre, and they said I could tease it a little if I wanted so here is a photo of Matthew helping me animate some spooky trees, which I guess won't give anything away as I put spooky trees in everything.  I'm very happy to be part of this project, I'm excited I get to ask Tori about left-hand piano riffs, Sam Adamson is writing the script and I hope you will come and see it later this year.  Meanwhile I need to go back into the little room now.  I want to insert a joke here about having my work cut out for me but i haven't worked it out yet.

Thank you a lot to all of you who bought the Flyboy bunting and helping me pay my rent.  I've now sold out but will be either making a new run of it again in a few weeks or bringing out a new edition for Halloween


*the ukulele orchestra of great britain doesn't count here because they are exciting

new product! FLYBOY BUNTING

I made some new merchandise, paper-cut Flyboy bunting.  Some of you may already be familiar with the story, Flyboy and the Wicker Cat, sometimes we sing it in our shows, or you may have bought the book from the sadlucy shop.  Now I turned it into some summer bunting:

The bunting is machine-cut, but it is mostly home-made as the machine is slightly hit-and-miss in what it cuts out and I have to finish it all off, it is about 2-3 metres long, and tells the whole story of Flyboy and the Wicker Cat.  While the sun is still shining why not get some for your garden or kitchen window.  

CLICK HERE TO BUY IT

The Flophouse, plus collaborative painting with Matthew Randle

I've been picking up some new things recently, painting again out in the street, I met a new artist / friend and have been working with him.  I picked up a new word.  noncanonical.  I've been using it a lot, it's a good way to dismiss you own work if the project hurt you and other forces from within the project tried to control your hands too much, more than you would like, too tightly to let you do a very good job.   I've had a couple of projects like that recently, in the last couple of years, but now they're done with, the bruises on my wrists have faded and they're noncanonical.  We did a bit of voodoo last year to purify the process a little, we burnt everything that was left over, all the unused plans and unused puppets, and some sage.  The sage bush died over the winter but now I've got a new one . . . for next time.

Oh yeah, I picked up the new word from my new favourite podcast!  The Flophouse.  Check it out!  Actually I have two new favourite podcasts but I'll talk about the other one next time . . . The Flophouse is a bad movie podcast, and it's very very good.  Ugh.  I really like it.  I wish I could talk as well as they do, especially Elliott.  And he makes up songs.  If you want to listen to a podcast that isn't  alpha males shouting at you about annoying stuff they like, well...I'll say this...here are just some funny, nice, clever guys, it's like hanging out with your older brother and his fun friends.  Except I don't have an older brother.  Subscribe to it, it's very good.  Oh yeah so . . . noncanonical.  One of them (Stuart or Dan) applied it to Muppets from Space, and then to any Muppet film that was made after Jim Henson died.  And that made sense to me and now I use it.

Here are some canonical things though:  I have been learning about collaboration, painting some collaborative paintings with Matthew Randle in the countryside, working on the same picture at the same time, painting and re-painting, moving around, mixing colours together, until we get the picture right, he taught me to play chess too and that's what this painting feels like. . . Matthew's work is amazing, he is an inspiring person, he is teaching me a lot and you can learn from him too if you look at his pictures, check him out online  . . .

here are some of our pictures from Cornwall this weekend, in St. Ives and Porthtowan:

                                   

Something Very Far Away Puppet Puppet-a-Long (part one)

the ANIMATION IS FUN!! song

Peter Lily and the Nose - layers

I've been trying to come up with a way of making the landscapes and buildings that the characters live in.  Trying to find a system and a kind of code - what is a silhouette in this story and why is something a silhouette?  what should be made out of something else, like chalk, and how many new ways of drawing something am I allowed to bring into the film before it looks too crowded.  Sometimes you want things to recede but at the same time create atmosphere, sometimes you want them to be a strong element of the storytelling.

The moon here is a big cut-out piece of white card, and the trees are silhouettes, but the stars and Peter's bedroom light are pieces of chalk drawing, and so hopefully it begins to set up some sort of storytelling hierarchy that is consistent through the whole of the film.

The outdoor night-time scenes are easy though - everything looks like a silhouette at night, so the decisions mostly make themselves.  Now I've been filming the scene in the tea-shop and there is suddenly a lot more to question.  What are the walls made of, can they just be white?  but then how do I suggest depth?  Am I allowed to blur things to help this?  What are they sitting on? Black card or chalk?  What are the tables made of?  they can't be black cut-outs because it's important to the story that we see what happens on the table.  

Here's how I've created it, in a system of layers, the table is paper, but white sugar-paper so it has some character of its own and also lets the shadow puppets make their own shadows through it:

This is the basic animated scene and is what gets filmed frame-by-frame.  Here it is as a single cell:

The rest can then be added on top . . . 

The chairs and table legs (chalk drawings):

 . . . and then wallpaper (photocopied chalk and line drawings, equivalent to the earlier scenes with clouds and rain):

I'll tweak it all a bit, but here it is all put together in this roughly cut-together edit of the scene:

If anyone is handy with .raw files and After Effects please get in touch as I need some advice . . .