Article: "Stop admiring Frankenweenie! Why stopmotion doesn't move me."

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omg, is that for real?? They went from that to that?

Roger Beck said:

I know that this example isn't exactly fair to higher end CGI but …


Can anybody really think that this …

looks better than this?

Which example looks low-rent to you?

Yes, Fireman Sam used to be stop-motion, now it's CGI.

This is the same bloke who who reviewed "Scott Pilgrim" and said  "The moral seems clear. Traditional movies may tax the patience of ever more scatterbrained filmgoers. Captivating new media may threaten to lure them away. Nonetheless, film-makers shouldn't try to steal their rivals' clothes. It just won't work. They'll stand or fall by the strengths of their own trade."

and said of "Shrek 4" - "I found Shrek Forever After both gripping and rewarding, but this wasn't because of its 3D wrapping. The film worked for me because of the appealing characters, disciplined storytelling, acute observation, wit, wisdom, warmth, intelligence, flair, charm and exuberance which the Shrek series has, on the whole, displayed, even though so many other recent films haven't. If cinema is to flourish, it's to these qualities that it must look, not to technological doohickey"

But to be fair he also wrote a very good article about how "Brave" wasn't brave with its storyline.

http://www.guardian.co.uk/film/filmblog/2012/aug/20/brave-film-pixa...

Kind of a snotty article and focuses solely on the money. Art is forever lost on Hollywood bean counters.

I think the middle of the article hit it square on the head:

Burton waxes mystical on the craft to which he devoted his formative years. "There's an energy with stop-motion that you can't even describe," he says. "It's got to do with giving things life." He explains: "Basically it's artists doing it and painting sets and making things. There's something very gratifying about that." Clearly he enjoys the process, but this doesn't explain why the rest of us should admire its results.

Some people believe stop-motion provides a unique path to the infant imagination. "To the eyes of a child, it looks like toys coming alive," says one fan. Says another: "Stop-motion animators reimagine ordinary things and transform them, very much like the way kids do when they play."

It's not about having the biggest box office take...it's about the art. If that brings us back to our childhood playtime on either a conscious or subconscious level...all the better!

Fans of Joseph Campbell will say that the most effective storytelling always harkens back to our most primal levels of consciousness. That these types of stories - in all their myriad forms - are first encountered in childhood only adds to their power. They've had a whole lifetime in which to cook and simmer and build up emotional links to our experiences.

Not to push the point too far, but dolls and other surrogate figures are some of the most ancient of human artifacts. Surely they are as deeply rooted in our psyches as any art can be. 

Not exactly Tim Burton, but definitely in the same family!



Jason Cascio said:

It's not about having the biggest box office take...it's about the art. If that brings us back to our childhood playtime on either a conscious or subconscious level...all the better!

I'm reminded of the old song that goes, "Anything you can do I can do better..."


When it's all said and done - CG and SM can both look and be great, but often times both fall short. I prefer the tangible aspect of SM myself. Would rather build something with my own two hands than model it on a computer. To each his own I guess...

I agree and have to say that article is rude and classless. His point is only how the film translates into BO dollars and completely disregards the craftsmanship and quality of manual process. Should we trash 2D animation as well, especially if it didn't reach box office goals? Then let's give kudos and acclaim to movies like Paranormal Activity and Taken 2

What ignorance.

Hey, while we're on the subject of real-world craftsmanship, I've been wading through the massive featurettes on Prometheus, and I was surprized to learn just about everything was done practically - almost no CGI creatures. Lots of cable-style animatronics. Bravo Ridley! 

We live in a time of disastrous economic times and Paranorman is one hell of a great film! Do the math... stop motion is the better option, especially now.

Hmmm .... I suppose, Prometheus' $120-$130 million budget is a bargain, since some of today's obscene excess production budgets, of CGI Effects ladened empty visual eye calories movies, are now nearing $200 million budgets? The original Alien (1979) movie, cost around, a measly $11 million to make .... but I maybe digress 

Strider said:

Hey, while we're on the subject of real-world craftsmanship, I've been wading through the massive featurettes on Prometheus, and I was surprized to learn just about everything was done practically - almost no CGI creatures. Lots of cable-style animatronics. Bravo Ridley! 

^^ Ridley Scott said exactly that - that CGI is NOT cheaper than doing effects practically and that there's something about having actual physical things there in front of the camera that CGI just can't touch. And he and some of the actors talked about how working on a greenscreen stage is acting in a vacuum and that shows in the productions where that approach is taken. He likes to give the actors something real to react to.

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