“It (eg) is a film by Pedro Almodover, but animated,” “Women wearing shoulder pads“Producer and director Gonzalo Cordova said during an annexy work in the progress session on Friday.
The impact of the Spanish filmmaker can be seen in the very structure of the show’s title and bright colors of the set and the bright colors that appear in this upcoming the forthcoming Adult swimming show.
Pitching in a work in progress panel Annie Animation FestivalCordova, once a writer for “Tukka and Burti”, connected the show to his family relations with Ecuador. The initial idea came from the United States step at the age of five in Cordova and they were systematically systematically from the practice of people eating guinea pigs.
It turned into an overrouud conspiracy of “shoulder pads wearing women wearing pads”. Mainly set in Quito, Ecuador, the show follows a rich woman who goes into the country, demands to exploit the guinea pigs and convert them into a business. But the series is also touched by the absurd: for the beginning, the guinea boars are massive. “These people are the size of the people and can be fought in bullfighting rings,” Cordova explained.
The Work-in-Congress session showed other deliberately foolish clips of non-unique scenes, such as a woman is being asked to adopt a duck in her meat business, and in response, imagined themselves to dance and romance on one of the waterlogging. Others bribed a character with a slide show and explained to a woman looking for the side of the priest of a pigeon -occupied booth.
To produce the show, Cordova Studio is associated with Cinema Fantasma, which is also launching the “I am Frankeleda”-first stop-motion animated feature at Mexico on this year’s festival. The episode director, art director and production designer Ana Koronila, and Cinema Fantasy founder Roy and Arturo Embridge spoke about their cooperation with Cordova in the panel.
Koronila spoke extensively about the design work and how “when you designed for stop motion, you have to think about all other departments of your studio – how the costumes are going to influence animation and construction.”
In an interview with Diversity After the session, Koronila, who directed some episodes of the show and worked on developing his look, described how he used mixed media to manage the cost of time and set building, which also allowed freedom to use freedom with spaces.
3D printing also came in handy for puppets. The series pilots were fully handmade, Roy Embridge reported how much it developed, especially with 3D printed with puppet parts. “At first we got a little scared because we like to do everything manually,” he said, “but then we came to know that it is also manual. The program still allows you to use like soil.”
But most of the production design, especially costumes, came from person elsewhere: Cordova’s mother’s fashion school design. His design was one of the first images, Cordova showed the cinema Fantasma Team. The filmmaker’s wife, Rachel also consulted on the fashion elements of the series, indicating the most accurate shoulder pads and silhouettes associated with the era.
‘Women wearing shoulder pads’
Credit: Adult Swimming
His feature film “I am Frankeleda” surfaced during the panel, as the productions were happening simultaneously. Cordova said, “The sets literally were next to each other, which they were different from just black clothes.” “So you just walk, look at a demon, and then you will go to the other side and see a puppet dancing.” (Koronila clarified that the puppet was dancing with a duck.)
The crew was often shared between the two, a process described by Roy Embridge as “crazy” because each of the presentations had its own identity and mood. “We have a system in our war room, as we call it, where we all decide,” Embrids said. “It was filled with whiteboard with a lot of cards, and it was as if we were crazy, adding things” (they copied the threads on an inquiry board). He continued to explain that the logistics came down to the characters in “Women wearing shoulder pads” using many different wardrobes.
For extra, they will reuse the body and change the head. Koronila explained that just keeping an eye on all the moving puppet parts was a challenge in itself, especially with accidents. “You will have different situations: ‘Oh, this puppet broke a finger, you have to adjust the wig on it, we have to change clothes on it,” he said. “And you are running all the time, and sometimes you have to know which puppet is with which animator.”
According to Arturo Embridge, along with keeping the deadline straight, it was also a challenge for the studio to work in a new style. He said, “This was one of the main directions (Roy) and I did not direct any episodes,” he said. “We were involved in the direction of the pilot, but we thought we have created a toolbox, and now Gonjalo needs access to full toolbox, but without using us.” Cordova replied that he learned a lot from him working with stop motion, one thing is flexibility: “You have to let the shot soul happen what you guide you and not the specifics of the shot.”
Koronila also talked about the meeting in the middle about the physics of puppets and sets. “The camera movement you can in this environment, you must have some flexibility because Gonzalo will have this reference, and when they are amazing, there are some things that are physically impossible,” she said. “But at the same time, we had the freedom and creativity to change the things that we knew how to do.”
Two sets in parallel may have created logistic chaos, but it was also solved as many problems. Embrids said that the opportunity itself was rich, saying that for animators, the demons were switched to switch from animating to more everyday conditions. He described this process as a dance as a dance, to learn participation from another. Sometimes solutions were of more direct nature. The team has cinematographer Fernanda ji. The Manzur was remembered as a replacement for one on “women” using students from “Frankleda” puppet.
‘Women wearing shoulder pads’
Credit: Adult Swimming
Cordova also studied the erotic thriller while considering the show’s tone. “People like Brian de Palma, we were also looking at ‘Working Girl’, which was a big impact,” he said. “What I got if you try to imitate them, you just get a copy of a copy.”
So to get the right fit, they went to the source. Cordova said, “When Tod Hens did it away from heaven”, Douglas was like an entrance drug for Sirak, “Cordova said,” the gateway drug, you know, ‘leave her in heaven,’ which was a great impact.
John M. Discussing Stahl’s “Leave to Heaven”, Cordova recalled that the team really referred to the scene where (Jean Tireni) throws herself down the stairs because she does not want to do a child, “also repeats the high tone with stress. Cordova said, “She is also where she is scattered her father’s ashes, while riding a horse, the chin is kept high.” “A lot of this series comes back ‘chin high’ effect.”
A love of kits is important for “women wearing shoulder pads”, but the creators admitted that chasing that tone is a delicate balance. “If you are deliberately camping, you have to forget that you are camping, and you have to be really honest.”
The team admitted that sometimes they got that sweet place and sometimes they did not. But honesty is important. “You have to think that you are going to cry to the audience, even if the scene is about a fucking duck,” Cordova said laughing. The conversation turned into a scene of “Shin Commen Rider”, where the main character has a serious conversation and ends it completely by backflipting a standing backflip before going on its motorcycle. Cordova replied: “There may be a scene here.”
“Women wearing shoulder pads” will be released on adult swimming on August. 17.
