The other night I went on a movie-watching binge, and it ended up being a theme night. I watched "Hunchback of Notre Dame" and "A Monster In Paris", both films set in Paris and both with a "who's the *real* monster??" theme. Its been so long since I've seen "Hunchback", and I actually enjoyed it much more than I remember as a kid. The opening sequence and the "Hellfire" song gave me chills, but I had to fast forward through all the gargoyle nonsense. The movie has such a strong, operatic tone at its best- its such a shame that couldn't be sustained throughout the whole film. I'd really like to see a "Sweatbox" style documentary about the making of Hunchback- it is very evident there was a struggle behind the scenes. Also, one other thing bothered me- the crowds in "Hunchback" must be the most easily manipulated in film history. From joy, to malice, to shame, to joy... all within a matter of seconds. A comment on mob mentality, or convenient plot device? Doesn't matter though, as long I have me my "Bells of Notre Dame." The second movie was far less grand in scope, and was rife with its own unique set of problems, but I couldn't help but be utterly charmed by it. "Monster In Paris" had me rewatching sequences over and over- okay, just one. But it is really magical. Maybe I'm just a sucker for a good tune and a set of broad shoulders in a white zoot suit, but the "La Siene" number made my heart swell with all its loveliness. The colors, man! THE COLORS! And Frankie is a new entry onto my list of all-time favorite animated characters. His design, gentle personality, and eerily beautiful voice made this movie worth overlooking the narrative flaws. Overall, what I learned from watching these two very different films back to back is the importance of a cohesive tone. With all the great resources "Hunchback" drew upon, its jarring tonal shifts ruin its chances of being the operatic masterpiece it so clearly could have been. "Monster in Paris" has perhaps even more problems than "Hunchback", but because it was good at sticking to a tone of wonder and screwball quirkiness, it left me with a sunny feeling and not really caring about the problems. Also, it made me stay up too late tonight fanarting. Gonna watch "La Siene" in French now...
I had the pleasure of enjoying a relaxing bachelorette/birthday getaway for my pal Emily this weekend. This image is an accurate summation of the good times that were had by all. I think it explains itself.
This past Monday night was ASIFA-Atlanta's local animation showcase, Roll 'Yer Own. There was a lot to like in that show- it is very inspiring to see so much wonderful independent animation being created folks in the Atlanta animation scene. And man, if I was claiming to be over the Ottawa rejection before, I'm really over it now. "Monkey Rag" was awarded Best in Show as well as Audience Choice, and everybody was so incredibly kind and supportive. So thank you all for a remarkable evening, the memory of which will cheer me for years to come! It means more to me than you can know.
I've been submitting to festivals, and have started to hear back. I got into a local animation showcase, which is great, but then I got a very pleasant rejection letter from Ottawa. Its only one rejection, but it was an important one upon which I had pinned a lot of hope. Dealing with the reality of it this evening has left me feeling four year's worth of tired. I know it is petty to whine over one rejection, but I think I'll get over it faster if I don't try to hide my disillusionment behind pinups and bunnies. Tomorrow, back to work.
Just doodling boyface tonight, which is the weird word I've invented to be the male version of "girlie." There's got to be a better term: "Boylie"? "Manlie"? "Guylie"? Maybe guylie. Kinda sounds like mix of "girlie" and "beguile."