Well, I let you judge for yourself:
I saw FRANKENWEENIE and I loved it.
I appreciate it. From Frame one until the end.
I don't know why it flopped, but I loved it.
BTW, while Victor looks like the protagonist from CORPSE BRIDE, Mr. Burgermeister looks like Phineas Everglott.
My only nit would be focusing so much on "arty" films rather than just films in general.
His take was best when he was essentially saying, "Who cares what technique you use? Just make a good film!"
Thomas Nicol said:
Agreed. Though, the arty films he references sound pretty great; I really want to see Una Furtima Lagrima in its entirety. I got to see Bobby Yeah at a fest last month, and it was... something else. Pretty sure I had a stupid slack-jawed grin for the entire 23 minute runtime. There may have been drool.
Stop-mo can be sinewy, sensuous, tactile, and surprising. Real light on real objects....it reads on many different levels (effects which must be laughingly recreated by CG- the vice versa of which is equally ironic, i.e. accomplishing challenging effects in stop mo that would be so facile on a computer. Why set the two up as adversaries - they're just different mediums and tools. Maybe because of it's process and the different hands-on connection of creator to their creation, stop-mo illicits an urgency and exciting push for invention. Craftsmanship should be enjoyed, deeply appreciated and supported, that my bottom line.