Malin Erixon. Long live animantion!
Malin Erixon
On the Russian forum of SHORTs moviefestival someone has an opinion of Death by Heart being somewhat similar to books of Erlend Loe in terms of the atmosphere. What do you think about it?
I suppose the simple and direct language is a little similar. However, Loe has not been an inspiration to me in the making of this film. If I have to mention one person, whom I've been influenced by in this case, it would be Woody Allen - with his tendencies to complicate things and getting off the subject of what he's really trying to convey.
Woody Allen, who is else…?
As mentioned in the previous question - Woody Allen was an inspiration in the making of "Death by Heart". When it comes to animators and makers of animated films, I greatly appreciate the work of Phill Mulloy and I laugh my head off at Don Hertzfeldt's short films.
What are the techniques of your animation films?
I use different techniques in the making of my films. "Death by Heart" is made with classic animation - drawing frame by frame. I've used the application ToonBoom for this, which allows you to work as if with paper and pen, but omitting the scanning phase. Saves time...
I always make the backgrounds by hand on paper, and then work on them digitally. "THE FOREST ... and 7 illustration around the name of a tree" is made in the same way. "A Cabbageworm's Adventue" is made in a drastically different way. This film is made directly under the camera.
stills from "The FOREST..." и "A Cabbageworm's adventure"
I prepared translucent plastic film by first sandpapering it – for texture - then covering it in acrylic paint. When the paint had dried, I scratched the paint with a scalpel to create the images. So...
I scratched and painted and photographed over and over again, frame by frame, to create motion. To this I added cut-outs. I also worked a lot with lighting here - both from underneath and from above. In short, I spent month after month alone in a dark room scrating and watching paint dry, pulling my hair...
I do all the editing in the application Final Cut Pro.
How and when did you get into animation? What does it start with?
I have experimented in animation for about eight years. However, it wasn't until four years ago, when I started studying animation, that I seriously got into it.
I have an education in graphic design and illustration, and this is what lead me into animation. I have always been interested in drawing, and giving images and characters life by animating them is very exciting for me.
I find that working with animated film is the perfect combination of creativity and technique, as it includes both the drawing (or creating of images) as well as the editing and sound work. But the main reason for choosing this art form is the idea of telling a story.
I feel that animated film is the perfect way to tell a story... It allows you to create everything yourself - the perfect atmosphere and the perfect actors - exactly the way you like them.
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The process is so long, that at times it becomes hard to "see" your work and to remember what was good about your idea in the first place... |
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still from "Death by Heart" (fragment)
How did your close ones react when you just started to get into animation?
I have always had the support of my parents.. Although, in the beginning, they had some trouble understanding my goals. It was hard for them to see that it can be a goal in and of itself to have your film screened at a particular festival or event for example - even if it doesn't result in anything but the pleasure of showing your work.
However, after I've had some success with my films, they have begun to see the spinn-off effects (work opportunities and possibilities to be involved in other projects and events).
They've also begun to understand just how much it means to me to work with animated film - as an artform, not neccesarily to make money (although a combination of the two is nice, I guess).
Have you ever been told that A Cabbageworm's Adventure is similar to Yuri Norstein's animation in terms of technique ("Yozhik v tumane" is his most popular animation made in 1976 in USSR )? Have you seen his works? What are your impressions?
I am very familar with Yuri Norstein. I really enjoy his work! "Hedgehog in the Fog" is a very nice piece. I feel it is a great overstatement to compare our work, but humbly say I'm happy to hear someone finds a remote similarity.
stills from "A Cabbageworm's adventure"
When I made this film, I was a student of Polish animator Piotr Dumala - he works in a similar technique and is in fact the one who inspired me to experiment with this technique.
"THE FOREST ... and 7 illustration around the name of a tree." Please comment on those illustrations. They are all very emotional but sometimes it is hard to get the meaning (maybe that is because of associations that work for Swedish language?)
The illustrations in "THE FOREST ... and 7 illustration around the name of a tree" are meant to give simple insights of people's everyday lives - to reveal things they do when they don't know they're being watched.
There is no real connections or associations to the Swedish language, but rather an illustration (or disclosure if you will) of relations between people or thoughts of the individual, seen though my eyes - or perhaps through the eyes of the figure in the film.
I wanted to create a world where it's hard to know if it's all in the imagination of the character or, in fact, reality.
In "The Forest ..." the fog in the forest and the mystical gloaming of the evening sky are brilliant. How did you do it?
I work a lot with bringing forth the texture of paper... This is the case with the sky in this film. It is made by hand and then manipulated digitally. The clouds are also pieces of paper that I have animated horizontally across the background. The stars are composed of two or three images that I have alternated to create the blinking.
stills from "THE FOREST ... and 7 illustration around the name of a tree"
What are the hardest and what are the most pleasant parts of making?
Hm... the time it takes to make an animated film, depends a lot on your choice of technique... of course. Working with frame by frame animation however, always takes time.
My film "Death by Heart" took about 6 months to make. But it's hard to measure the exact time, since the idea of the film is something that was being formulated in my head for a long time, before I actually sat down and started producing. I enjoy most of the stages of film-making, although sometimes the actual animation part feels very long....
So long that I sometimes forget what I'm doing, and mainly WHY? The process is so long, that at times it becomes hard to "see" your work and to remember what was good about your idea in the first place...
Please tell us about your work with composers. What does interest you most in music? What is its part in your works?
I work with different composers. Usually I have an idea of what I would like, and then try to have something made that resembels this. This is the case in "Death by Heart" for example.
I feel the music plays a very big part in this film. The composer, Christofer Ahde, is someone with whom I have worked with before and look forward to working with again. The qualities of the music in my films, has to reflect and add to the atmosphere I'm trying to portray.
You are also the one who does the sound for your works. How do you manage with it and how important is it to do it yourself?
I enjoy having control over all stages of the production. I usually have a strong idea of how I would like the sound, already in the beginning of the project. In fact, sometimes a certain sound or piece of music can be what sparks an idea for a coming film.
Therefore, I find it hard to leave the sound for someone else to do, although I certainly understand the advantages of having expert help in the area.
What do you feel about your work on MTV, one of the most powerful brands? How hard was it to balance your own interest with that of producers?
Hard question... When I did work for MTV, I was still very eager to have my films shown to the public - regardless of where and why. I believe I am a little bit more consious about it now and perhaps a little bit more "picky" in my choices of arena...
As I've understood it, MTV is presently trying to bring forth new art and new ideas to the channel (or perhaps trying to return to what they used to be, years ago). Therefore I feel OK about contributing. On the other hand, as they are a huge actor and business brand, there is always the "selling-your-soul-type-risk".
Until now, I have always been the producer of my own projects. There are advantages as well as disadvantages in working this way. In contracted work, there's always someone else involved with opinions about my work..
so I generally try to keep as few people involved as possible. I do appreciate the advantages of having a producer however, and understand that this is a must in some cases.
How much does the client interfere into your work? What parts of it? How big of a problem is it in Sweden in general?
Hm... I have been in situations where the client has interfered quite a lot, and situations where my hands were free. So, I guess it all depends on the client...
Having won many festivals, do you feel any difference? What changed in the way you are seen by other people?
I'm not sure I can say I feel much difference... Receiving confirmation that someone else likes what I do has helped my self-confidence however, and given me more reason to keep working. Everyone likes a pat on the back sometimes...
As to the question if it's changed the way people look at me... I suppose it can add to the belief that I'm serious about my work. I appreciate this, but hope that this is understood with or without awards. When it comes to it influencing my work, it has helped me believe in my ideas, and that they are good enough.
Does it help to promote you other works?
Yes. One thing seems to lead to another.
Where do you study/studied and how did the school influence your life?
I have studied communications at Berghs School of Communication, graphic design at Forsbergs School of Design and last but not least, animation and animated film at Konstfack University College of Arts, Crafts & Design. All three schools are located in Sweden .
I loved going to school and I wish I could do it forever - just because it allows you to experiment and gives you "endless" amounts of time to just work on exactly what you want.
What on are you working now?
My plans for the nearest future are to make an animated music video for a Swedish group called Old Children. I've just started on that project and it will be finished in the end of May. After that I will start working on my next short film.
I recently received the happy surprice that I have received a grant from The Arts Grants Commitee (Konstn?rsn?mnden) as well as from a couple of other places, which enables me to finance the film and actually work full-time on it for a while. I'm very happy and thankful for this.
What music are you playing at home now?
Right now I usually end up putting on a selection of my favorites... A selection I've made from my quite large collection of music. The selection includes my favorite 99 songs, all genres... I call it "Malin's 99 most neccesary songs"...
A few words to young filmmakers in animation.
Long live animation! :)
© Shortы 2006