Make one short experimental animation film each week for 52 weeks. Film lengths cannot exceed 60 seconds.
- To be prolific in creating short term/short form animation projects in lieu of a long term/longer form endeavor.
- To make films that have a "big a-ha", requiring commentary & technique to work in concert.
- To utilize rarely used techniques or create new techniques to tell animated stories.
- To use analog animation techniques whenever possible (and reasonable).
- To reframe the idea of experimental animation and redefine it as "fine art animation" or "animation as fine art".
- To reach audiences outside of the United States, and hopefully within.
- To be consistently immersed in creative projects outside of commercial work-for-hire projects.
- Enthusiasts, fans, buffs and creators of all areas of the film, fine art and other creative worlds.
- Those interested in social critique and commentary.
- Those in countries with rich histories in animation. Such as Canada, Germany, Japan, Poland, Russia, the U.K. and the U.S.
- Those interested in gallery shows, fine art curations and the history of art.
I'm pretty much gonna run the the gamut. I do envision a good amount of analog items being used. That means, shooting real things and animating them later on; or animating objects and drawings in more of a traditional or stop motion way. I wish I could foresee exactly what I will use in every film. Very few things are off limits. CGI is OK but only as a last ditch or if no other techniques make more sense to use. It's almost always paramount to make sure the technique & visualization is the "ying" to the concept's "yang".
- Norman McLaren because he's the O.G.
- Jan Švankmajer because he's the king.
- Lotte Reiniger because she's the queen.
- John & Faith Hubley because they showed us how far outside the box you could go.
- Don Hetrzfeldt because he's a rebel.
- Mary Blair because she combined fine art and animation like no one else.
- Storm Thorgerson because he epitomizes "ain't nothin' like the real thing".
- David Lynch because he finds the strange in the familiar.
- The Brothers Quay because they find the familiar in the strange.